tag:blogger.com,1999:blog-77949196949453332322024-03-14T02:06:49.308-07:00Old Masters in the New WorldUnknownnoreply@blogger.comBlogger11125tag:blogger.com,1999:blog-7794919694945333232.post-72045808052219383762013-12-02T03:48:00.000-08:002013-12-02T03:48:25.142-08:00Getty Museum, Los Angeles<!--[if !mso]>
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<b style="mso-bidi-font-weight: normal;"><u>The Man behind the
Museum: The Mysterious Mr Getty.</u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhluyRDDLos41BWvEscfLVkAgfN7PX_3UaLJrZjD21_0-rH407DgNU5JNT7OIbrE-ypwbT8qFz0IKRpQ9o0HMzVpCMDYgGL45fJjuqI9DHbE77BazLdRAC8ImauCAD836yZJUL6HPBtFdb4/s1600/j-paul-getty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhluyRDDLos41BWvEscfLVkAgfN7PX_3UaLJrZjD21_0-rH407DgNU5JNT7OIbrE-ypwbT8qFz0IKRpQ9o0HMzVpCMDYgGL45fJjuqI9DHbE77BazLdRAC8ImauCAD836yZJUL6HPBtFdb4/s640/j-paul-getty.jpg" width="500" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVwaWZ58EDiCGD7P8KcZwdztx3-FNnEeE5tZi_Jx-ok89goV-1xlNR0PtBp6Tt6HK-9uy2O46vRb1i4i7BRaRPfqoQksqo6Xb_rJ5RM-dM2ue_Chxd2bVrOBUB53XaMGu_gLMlSFPzc61c/s1600/616693.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVwaWZ58EDiCGD7P8KcZwdztx3-FNnEeE5tZi_Jx-ok89goV-1xlNR0PtBp6Tt6HK-9uy2O46vRb1i4i7BRaRPfqoQksqo6Xb_rJ5RM-dM2ue_Chxd2bVrOBUB53XaMGu_gLMlSFPzc61c/s640/616693.jpg" width="380" /></a></div>
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The two qualities that <a href="http://en.wikipedia.org/wiki/J._Paul_Getty" target="_blank">John Paul Getty’s</a> name usually evokes
are fabulous wealth and miserliness. Born in Minneapolis in 1892, Paul Getty
was the son of George Getty, a wealthy oilman. Getty studied at the
Universities of Southern California and Berkley, San Francisco, before
transferring to Oxford. Listless and bored, the young Getty was eventually persuaded by
his father to join the family business and commit to one year in the oil fields.
In the fall of 1915, with his commitment nearing its end, Getty paid $500 for a
half-interest in a loan on 160 acres near Stone Bluff, Oklahoma. The oil came in,
and in less than two years Getty was a millionaire.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
With the price of oil rising after World War One Getty’s fortune grew, helped
with an inheritance of $500,000, though George did not make his son executor, a
decision which wounded his offspring. Such was J. P. Getty’s fortune that in
1957, he was described as “the wealthiest living American.” Despite his
millions, Getty had his share of tragedy. His son George, died under mysterious
circumstances, probably suicide; and more notoriously his grandson, J.P. Getty
III was kidnapped in Italy. A ransom of $3.2 million was paid, but the
kidnappers cut his grandson’s ear off, a cruel deed that made the <a href="http://www.dailymail.co.uk/news/article-1354353/John-Paul-Getty-III-dies-54-paralysed-30-years.html" target="_blank">headlines</a>.
Increasingly withdrawn in later life, Getty reflected on his vast fortune and
the qualities needed to attain it. He said that such success required 35
qualities, but most people, even highly accomplished, possessed only 34. Though
acquiring money was Getty’s favourite pastime, collecting art ran it a close
second. </div>
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<b style="mso-bidi-font-weight: normal;"><u>Getty as
Collector.</u></b></div>
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<br /></div>
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In addition to vast wealth, Getty was renowned for his
economy. A multi-millionaire who practiced thrift, Getty would not pay
“unrealistic prices” for his art. His strategy was deliberately low-key, and in
the initial stages, Getty had no desire to amass a great collection. His first
purchase was a <a href="http://search.getty.edu/museum/records/musobject?objectid=755" target="_blank">landscape</a> by the 17<sup>th</sup> century Dutch artist, Jan van
Goyen which he acquired for $1,100 in 1930. It is important to put Getty’s
wealth into context since he did not have the financial resources of Andrew
Mellon and Samuel H. Kress of Washington NG fame. Whilst Getty was acquiring
his modest van Goyen, Mellon was transferring $7 million to the new Soviet
Government for 21 paintings from the Hermitage Museum.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
In his early years Getty collected antique furniture, a Rembrandt (now owned by
LACMA) and of course, <a href="http://www.blogger.com/">classical antiquities</a> sparked off by visiting the Vatican
Museums in 1939. He admired the renaissance but only for its painting, not for
sculpture; he averred that nothing came even close to the Greco Roman world in
that art. Getty was a focused collector and on visiting the colossal diverse collection
of William Randolph Hearst at San Simeon in 1934, he declared that he was
against such “scattershot buying.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>Getty was neither a dilettante nor a
“checkbook collector” because he immersed himself in his collecting by keeping
diaries, records of conversations with art dealers and visiting archaeological
digs and sites. Though his art was an investment, his main criterion was that
he had to like something. For example he bought a <a href="http://search.getty.edu/museum/records/musobject?objectid=744" target="_blank">picture </a>by the 19<sup>th</sup>
century Spanish Impressionist, Sorolla y Bastida because it appealed to him. An
enthusiastic well informed amateur, Getty wasn’t a connoisseur, and hence had
to rely upon advice from experts. He was mis-advised in 1938 when he thought
he’d bought for $200 a real Raphael, the <a href="http://search.getty.edu/museum/records/musobject?objectid=633" target="_blank"><i style="mso-bidi-font-style: normal;">Madonna di Loreto</i></a>. Re-assessed today, the painting is thought to be a good copy
after the renaissance master. It is thought that Getty spent more time
researching the provenance of this painting than any other, as relayed by John
Walsh who was shown the painting by the old man in 1973.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
Sometimes Getty’s taste in painting chimed in with his passion for antiquity as
in Alma-Tadema’s <a href="http://search.getty.edu/museum/records/musobject?objectid=680" target="_blank"><i style="mso-bidi-font-style: normal;">Spring</i></a>, which is a
dry, academic reconstruction of a Roman festival. </div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><u>The Getty’s
Development <span style="mso-spacerun: yes;"> </span>Amid the Los Angeles Museum
Community.</u></b></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_tExXGu6ri1K2L_ddUC_0M17RpUakYIyPXpCAEkT2X88mIoZE1xKJ-B21rR5oPQLU0XnE9F1787ucssliEJlj3SsEJWQ8vfcNDv0my549APdg_aPl-mpgznCIf4cinSl_2x5F738BVv7/s1600/Picture+193.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7_tExXGu6ri1K2L_ddUC_0M17RpUakYIyPXpCAEkT2X88mIoZE1xKJ-B21rR5oPQLU0XnE9F1787ucssliEJlj3SsEJWQ8vfcNDv0my549APdg_aPl-mpgznCIf4cinSl_2x5F738BVv7/s640/Picture+193.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Getty Museum, Los Angeles, 2008</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGVNYDm6iSNCurRZ7_BbT6bxIkUf7ap8YduEixxtdF1pFW29ZSG9k5UyIxLYZC8yzRF9fb2q63wmc_o7Ct6xll6hGL_m1S-gFkOcyubwmJEndA0yFhjnuW3tvcWcTRrRQ_lLkgN70HKhYN/s1600/Picture+195.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGVNYDm6iSNCurRZ7_BbT6bxIkUf7ap8YduEixxtdF1pFW29ZSG9k5UyIxLYZC8yzRF9fb2q63wmc_o7Ct6xll6hGL_m1S-gFkOcyubwmJEndA0yFhjnuW3tvcWcTRrRQ_lLkgN70HKhYN/s640/Picture+195.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View of the Getty and Gardens, 2008</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Getty Complex, 2008</td></tr>
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<br />
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>Rembrandt, Nude Woman with a Snake (Cleopatra?),
about 1637, Red chalk with white gouache heightening, 24.7 x 13.7 cm (9 3/4 x 5
3/8 in.</div>
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The J. Paul Getty Museum was established through a trust
created in 1953. It was then a “small, private institution” containing Getty’s
art collections overlooking the Pacific at Malibu. During the construction of
the Malibu museum- a reconstruction of a Roman <a href="http://www.getty.edu/visit/villa/" target="_blank">villa</a>- Getty created an
endowment and supplied funds to purchase works of art. Getty’s “unexpectedly
large bequest” in 1976 allowed the Trust to build up the museum and its
collections further. In 1982 the Trust recommended that commitments should be made
in 3 major areas of the visual arts and humanities: scholarship, conservation
and education. The year 1983 was a crucial year when the managers of the Getty
sat down to ponder the direction of the museum. Their strategy was to compare
the Getty to neighbouring museums in Los Angeles and California. LACMA covered
art of the whole world, and the city didn’t need another large universal museum.
And why compete with English art at the Huntingdon, Asian art at the Pacific
Asia Museum or modern and contemporary art at MOCA? Getty’s bequeathed
collection was less impressive than the Norton Simon museum, and it would be
far too costly to acquire more works of antiquity. So the decision was made in
1983 that the Getty would remain “a museum of European art.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
The existing collections would be strengthened, and a few new ones created.
They would also branch out into drawing and photography masterminded by George
Goldner, head of the photo archive. Goldner made a good start by spotting a
Rembrandt red chalk drawing of a nude (Cleopatra?) at a London auction.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>Many more sheets followed such as illuminated
manuscripts, and as the market looked promising, the decision was taken to
create departments of drawings and manuscripts. The sculpture collection also
evolved and in 1983 a department of sculpture was therefore formed. Demographics
and the mission was also debated with concerns expressed that the visiting
profile was “90% white” with “75% well-educated” in a city which is a melting
pot of many different races including Latino, African, American and Asian
descent. This led to a campaign of publicising the museum for all of its local
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<b style="mso-bidi-font-weight: normal;"><u>Old Masters and
Controversy at the Getty.</u></b> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirDGJ-pmIiuIkvIcp-BySqBd0RyzQKoesOaAANUH_s8vgVpg1nMo9OoJfTpuOxoWP_ol1Ueq4Bj3eUsSZBTBwaPBkLUH2jxeVtHQ2EKhxUbJ7eSIX7ca2AnaxT0jkvmomE5LptcFtJ33JT/s1600/norton_simon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirDGJ-pmIiuIkvIcp-BySqBd0RyzQKoesOaAANUH_s8vgVpg1nMo9OoJfTpuOxoWP_ol1Ueq4Bj3eUsSZBTBwaPBkLUH2jxeVtHQ2EKhxUbJ7eSIX7ca2AnaxT0jkvmomE5LptcFtJ33JT/s640/norton_simon.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Norton Simon Museum, Pasadena</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gZTS5-SyAje8XIhYTy59URp6XC2raOAlDcHxS6suLiOPJ5oUgkXbq0u1UQgyrTihdsi_EVoHvpdXLofYlnImzWeJ-h6W_wlrNhyLl6e5Hv6TvcDSZztGvT3XeQeJgMn5PT3HgqQM7cRQ/s1600/holyfamily.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gZTS5-SyAje8XIhYTy59URp6XC2raOAlDcHxS6suLiOPJ5oUgkXbq0u1UQgyrTihdsi_EVoHvpdXLofYlnImzWeJ-h6W_wlrNhyLl6e5Hv6TvcDSZztGvT3XeQeJgMn5PT3HgqQM7cRQ/s640/holyfamily.jpg" width="640" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Jacopo Pontormo, Portrait of a Halberdier, 1528-30,
oil possibly mixed with tempera on panel, transferred to canvas, 92 x 72 cm.</div>
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As was stated previously, Getty started
acquiring old masters slowly with deliberation. But with his death and his
large bequest, the opportunity arose to increase purchases. Critics of the
Getty museum stated that the museum would “buy up everything in sight”
following the example of Paul Mellon who had amassed British art in the 1960s
and 1970s, (when it was comparatively cheap) which resulted in the Mellon
Centre at <a href="http://britishart.yale.edu/" target="_blank">Yale</a>.<span style="mso-spacerun: yes;"> </span>Attempting to counter
the myth of the rapacious museum devouring the art market, Walsh and Gribbon
stress the “moderate” policy of the museum. Despite these claims, the Getty is
frequently associated with aggressive acquisition tendencies resulting in
criticism. The British press attacked the museum when it bought a Sienese <i style="mso-bidi-font-style: normal;">Crucifixion</i> attributed to Duccio, and
funds were matched to ensure that the work would stay in Britain. There was
further controversy when rumours spread about the Getty “acquiring” the Norton
Simon Museum, a story sparked by the joint purchase of one of the loveliest Poussins
in America, his <a href="http://www.nortonsimon.org/collections/browse_artist.php?name=Poussin%2C+Nicolas&resultnum=2" target="_blank"><i style="mso-bidi-font-style: normal;">Holy Family with 6 Putti</i>.</a> In any
event, this was a diplomatic solution to avoid competition between the two
museums. The Poussin and a Degas pastel travel back and forth every two years,
which might explain why your author didn’t see it last time he was the Getty! Yet,
according to Walsh, the Getty could never have had a dramatic effect on the
world art market, or the European art market, since the museum was “only buying
in only a few sectors of the market.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
Museums like Boston MFA, the Met and Frick in New York operate with financial
restrictions; hence the Getty is poised to “seize the unexpected chance”, one
of their principles set out in a 1984 report. Consequently, thanks to the Getty’s
legendary acquisition funds, older museums have found themselves outbid by the museum,
but the Getty itself has been outbid by private collectors, which also has to
be taken into account. Examples include a real estate magnate who paid $4.4
million for 11 renaissance drawings mounted on one page of a notebook assembled
by Vasari, and a pharmaceutical heiress who paid $4.8 million for a Raphael
drawing.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u>Brief Overview of
European Paintings at the Getty Museum. </u></b> </div>
<div class="MsoNormal">
<br /></div>
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One of the Getty’s policies is
to “fill gaps, but only with superior examples.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span></span></span></a>
They are not interested in art-historical coverage, but quality, much like the Kimbell at Fort Worth. This maxim is
reflected in their renaissance collection which makes no claim to completion,
but includes superior works by important artists. Good examples of this are
their <a href="http://search.getty.edu/museum/records/musobject?objectid=900" target="_blank">Mantegna</a>,<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span></span></span></a> <a href="http://search.getty.edu/gateway/search?q=Fra%20Bartolommeo&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Fra Bartolommeo </a>and <a href="http://search.getty.edu/gateway/search?q=Dosso&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Dossi</a>. On the other hand, some of the Getty’s claims about
quality might be scrutinised. Is the Pontormo <a href="http://search.getty.edu/museum/records/musobject?objectid=945" target="_blank"><i style="mso-bidi-font-style: normal;">Portrait of a Halberdier</i> </a>costing $35 m in 1989 really one of his
better works?<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn11" name="_ftnref11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[11]</span></span></span></span></a>
It cost them considerably less to obtain Savoldo's Giorgionesque <i><a href="http://search.getty.edu/museum/records/musobject?objectid=882" target="_blank">Shepherd with a Flute</a></i>, which is just as good, if not better than the star name. Though they have found it difficult to acquire Netherlandish art in the
renaissance, they have had more success with 17<sup>th</sup> century examples
of that school. Rembrandt’s <a href="http://search.getty.edu/museum/records/musobject?objectid=1069" target="_blank"><i>Rape of Europa</i> </a>is an early gem in the artist’s career, and there amongst the 17<sup>th</sup>
century French the <a href="http://search.getty.edu/gateway/search?q=poussin&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Poussins </a>and the <a href="http://search.getty.edu/museum/records/musobject?objectid=704" target="_blank">La Tour</a> are outstanding. There are examples
of neo-classical and romantic painting (<a href="http://search.getty.edu/gateway/search?q=jacques%20louis%20david&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">David</a>, <a href="http://search.getty.edu/gateway/search?q=Turner&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Turner </a>and <a href="http://search.getty.edu/gateway/search?q=Goya&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Goya</a>), Impressionism
(<a href="http://search.getty.edu/gateway/search?q=Manet&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Manet</a>, <a href="http://search.getty.edu/gateway/search?q=renoir&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Renoir</a>, <a href="http://search.getty.edu/gateway/search?q=monet&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Monet</a>, <a href="http://search.getty.edu/gateway/search?q=cezanne&cat=highlight&highlights=%22Open%20Content%20Images%22&rows=10&srt=&dir=s&dsp=0&img=0&pg=1" target="_blank">Cezanne</a>). The latest period that is covered by painting
at Getty is the late 19<sup>th</sup> century since the museum leaves modern art
to other cultural institutions in Los Angeles. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtuN1TLnwejNkduBCWs_bMJ_5L7LBX9yV-_QrdNMIUYMqfK4IoKaC6R5jcJjUX5KnizCCMxud19SNgcjViFpu83f8tXBgms0HxMD6THFrTolBPRCw_tQKhcSekIJuCgtSGaj2SOKNhqWuA/s1600/Picture+189.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtuN1TLnwejNkduBCWs_bMJ_5L7LBX9yV-_QrdNMIUYMqfK4IoKaC6R5jcJjUX5KnizCCMxud19SNgcjViFpu83f8tXBgms0HxMD6THFrTolBPRCw_tQKhcSekIJuCgtSGaj2SOKNhqWuA/s640/Picture+189.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The View from the Getty: Los Angeles</td></tr>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><u>Slides. </u></b></div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jan van Goyen, View of Duurstede Castle at Wijk
bij Duurstede, Dutch, 1649, Oil on panel, 52.4 x 73.8 cm, <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Unknown, Bust of a Woman, Roman, about 130,
Marble, Object: H: 43 x W: 42.1 x D (head): 24 cm (16 15/16 x 16 9/16 x D: 9
7/16 in.) Object (bust only): D: 21.5 cm (8 7/16 in.), Getty Villa.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Joaquin Sorolla y Bastida [Spanish, 1863 - 1923],
The Wounded Foot, 1909, Oil on canvas, 109.2 x 99.1 cm (43 x 39 in, bt 1933,
don, 1978. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>After Raphael, The Holy Family, possibly mid-16<sup>th</sup>
century, oil on panel, 120.5 x 91 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Lawrence Alma-Tadema, Spring, 1894, Oil on
canvas, 178.4 x 80.3 cm (70 1/4 x 31 5/8 in, <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, Nude Woman with a Snake (Cleopatra?),
about 1637, Red chalk with white gouache heightening, 24.7 x 13.7 cm (9 3/4 x 5
3/8 in.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Bernardo Daddi, The Virgin Mary with Saints
Thomas Aquinas and Paul, c. 1330, tempera and gold on panel, cent panel 120.7 x
55.9 cm; left panel 105.5 x 28 cm; right panel 105. 5 x 27.6 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Mantegna, Adoration of the Magi, c. 1407-1500,
distemper and gold on linen, 54.6 x 70.7 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Fra Bartolommeo, The Rest on the Flight to
Egypt, c. 1509, oil on panel, 129.5 x 106.6 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jacopo Pontormo, Portrait of a Halberdier, 1528-30,
oil possibly mixed with tempera on panel, transferred to canvas, 92 x 72 cm.<br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Dosso
Dossi, Mythological Scene, c. 1524, oil on canvas, 163.8 x 145.4 cm. </span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Giovanni Girolamo Savoldo, Shepherd, about 1525,
Oil on canvas, 97 x 77.9 cm<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn12" name="_ftnref12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[12]</span></span></span></span></a><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Deiric Bouts, The Annunciation, c. 1450-55,
distemper on linen, 90 x 74.5 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jan Brueghel the Elder, The Entry of the Animals
into Noah’s Ark, 1613, oil on panel, 54.6 x 83.8 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Anthony van Dyck, Thomas Howard, 2<sup>nd</sup>
Earl of Arundel, c. 1620-21, oil on canvas, 102.8 x 79.4 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, The Abduction of Europa, 1632, oil on
panel, 62.2 x 77 cms.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, St Bartholomew, 1661, oil on canvas,
86.5 x 75.5 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jan Steen, The Drawing Lesson, c. 1665, oil on
panel, 49.3 x 41 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Georges de La Tour, Musicians’ Brawl, c. 1625,
oil on canvas, 85.7 x 141 cm.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn13" name="_ftnref13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[13]</span></span></span></span></a><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Nicolas Poussin, The Holy Family with 6 Putti,
c. 1651, oil on canvas, 100 x 132 cm, owned jt with Norton Simon Museum.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Nicolas Poussin, Landscape with Calm, 1652, oil
on canvas, 97 x 131.5 cm. <br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Maurice
Quentin de La Tour, Gabriel Bernard de Rieux, 1739-41, pastel and gouache on
paper mounted on canvas, 200 x 150 cm. </span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jacques Louis David, The Sisters Zenäide and
Charlotte Bonaparte, 1821, oil on canvas, 129.5 x 100 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Goya,
Bullfight, Suerte de Varas, 1824, Oil on canvas, </span>49.8 x 70.8 cm.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn14" name="_ftnref14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[14]</span></span></span></span></a><br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Pierre
Auguste Renoir, La Promenade, 1870, oil on canvas, 81.3 x 65 cm.</span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Édouard Manet, The Rue Mosnier with Flags, 1878,
oil on canvas, 65.5 x 81 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Paul Cézanne, Still Life with Apples, c.
1893-94, oil on canvas, 65.5 x 81.5 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Vincent van Gogh, Irises, 1889, oil on canvas,
71 x 93 cm.<br />
<br />
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a> On
Getty’s fortune and its origins, see John Walsh and Deborah Gibbon, <i style="mso-bidi-font-style: normal;">The J. Paul Getty Museum and its
Collections: A Museum for the New Century</i>, (Getty, 1997), 11-19. </div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a> Walsh
and Gibbon, <i style="mso-bidi-font-style: normal;">The J. Paul Museum and its
Collections</i>, 21. </div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
The character of Joe Stoyt with his <a href="http://artintheblood.typepad.com/art_history_today/2011/05/art-in-the-idiot-universe.html" target="_blank">“idiot universe” </a>of baroque, renaissance
and classical art in Aldous Huxley’s <i style="mso-bidi-font-style: normal;">After
Many a Summe</i>r, is loosely based on Hearst.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> Walsh
and Gibbon, <i style="mso-bidi-font-style: normal;">The J. Paul Museum and its
Collections</i>, 25. The original is in the Museé Condé, Chantilly, which came
to light after Getty’s death. As Walsh says, Getty’s version is “believed to be
an excellent early copy.” </div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a> Walsh
and Gibbon, <i style="mso-bidi-font-style: normal;">The J. Paul Museum and its
Collections</i>, 67. </div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a>
Christie’s. 1981, Lot 120, see no. 114, George R. Goldner, <i style="mso-bidi-font-style: normal;">European Drawings</i> l, (Getty Museum, 1988), which may be a model in
Rembrandt’s studio with Cleopatra attributes. </div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a> Walsh
and Gibbon, <i style="mso-bidi-font-style: normal;">The J. Paul Museum and its
Collections</i>, 79. </div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a>
Ibid. </div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span></span></span></a>
The others are “Get the greatest and rarest objects;” “Have principles, but
seize the unexpected chance;” “Build on strength;” “Collect collections.” </div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span></span></span></a>
The provenance only goes back to 1871, but it has been speculated that it might
have been in Isabella D’Este’s collection, similar porcelain as in Washington <i style="mso-bidi-font-style: normal;">Feast of Gods</i>, <i style="mso-bidi-font-style: normal;">Mantegna</i>, cat, 1992, no. 56.</div>
</div>
<div id="ftn11" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[11]</span></span></span></span></a> See
Jonathan Brown (<i style="mso-bidi-font-style: normal;">Kings and Connoisseurs</i>,
249)<span style="mso-spacerun: yes;"> </span>“the picture is not on a par with
the great masterpieces of the Italian renaissance”, or even with Pontormo’s
most important works.<span style="mso-spacerun: yes;"> </span></div>
</div>
<div id="ftn12" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[12]</span></span></span></span></a> A
popular picture frequently copied previously in private coll, <i style="mso-bidi-font-style: normal;">Genius of Venice</i> cat, 1984, no. 85.</div>
</div>
<div id="ftn13" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[13]</span></span></span></span></a>
Probably a fight between bogus blind musician and a sighted one, cat, <i style="mso-bidi-font-style: normal;">La Tour and his World</i>, 1997, no 9.</div>
</div>
<div id="ftn14" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[14]</span></span></span></span></a>
First ex in 1900, then disappeared until 90 years later, cat <i style="mso-bidi-font-style: normal;">Goya: Truth and Fantasy</i>, 1994, no. 112. </div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7794919694945333232.post-867536974469004042013-11-22T10:14:00.001-08:002013-11-22T10:15:04.442-08:00Los Angeles County Museum of Art (LACMA). <!--[if !mso]>
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<br />
<div class="MsoNormal">
<u>Coming to Los Angeles. </u></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQY_RWQCXsME2FEepzWT4ymy_FBb66duXGNkqL4J4Hcq8gUnkMPxKKa-w-ws3RJpiog3CIGqtw2o6R0jcO_-P9pwi0_4Eeo4mX2UuAHDjbi_IJwKT5benUQyYOjK4K4-PJlNQzGv4BEt1P/s1600/2928680.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQY_RWQCXsME2FEepzWT4ymy_FBb66duXGNkqL4J4Hcq8gUnkMPxKKa-w-ws3RJpiog3CIGqtw2o6R0jcO_-P9pwi0_4Eeo4mX2UuAHDjbi_IJwKT5benUQyYOjK4K4-PJlNQzGv4BEt1P/s640/2928680.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Los Angeles, Autopia of the West</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWBqY7l7uho6sgy3rIEuxLNdxKGtH6KEokXJXFqvvnEV3SvECIsf2MUmLpRTEBA6xUp2QdTqVO_OzFg-tb2CEgFPYo3YnWIrMZdGsLSyIzbBao8u5m8h1gwvFg0p-d45yTUk4s-q7fTa9r/s1600/Picture+124.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWBqY7l7uho6sgy3rIEuxLNdxKGtH6KEokXJXFqvvnEV3SvECIsf2MUmLpRTEBA6xUp2QdTqVO_OzFg-tb2CEgFPYo3YnWIrMZdGsLSyIzbBao8u5m8h1gwvFg0p-d45yTUk4s-q7fTa9r/s640/Picture+124.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hooray for Hollywood. </td></tr>
</tbody></table>
<br />
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<tr><td class="tr-caption" style="text-align: center;">A View of LACMA</td></tr>
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“A city seventy miles square but rarely seventy years deep
apart from a small downtown not yet two centuries old and a few other pockets
of ancientry, Los Angeles is instant architecture in an instant townscape.” So
wrote the architectural historian Reyner Banham in his famous cultural,
architectural and cartographical survey of the city of the Angels.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
One can appreciate Banham’s description, especially with the first glimpse of
L.A. since the impression is of a giant construct that has been thrown up in
the middle of nowhere. Flying in at night, the sudden appearance of a
configuration of lights, buildings, and as you drop altitude, pulsing arteries
that carry the millions of the city from one end of its seventy miles span to the
other is truly mind-blowing. The effect on the senses and the mind is
overwhelming, and coming from a country that does not make a cult of the
automobile, you suffer culture shock when entering this “autopia” where Our
Lady Queen of the Angels is also the “Internal Combustion City, Surfburbia,
Smogville, Aerospace City, Systems Land, the Dream factory of the Western
World.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
So where in the middle of this urban explosion in Southern California does the
story of museums begin? There are many to choose from. California boasts many
fine museums: the <a href="http://www.getty.edu/museum/" target="_blank">Getty </a>(which we shall consider next week), the <a href="http://hammer.ucla.edu/" target="_blank">Hammer Museum of Art,</a> <a href="http://www.famsf.org/" target="_blank">San Francisco Museums of Fine Art</a>, the <a href="http://www.pacificasiamuseum.org/" target="_blank">Pacific Asian Museum,</a> the <a href="http://www.nortonsimon.org/" target="_blank">Norton Simon Museum</a>, the <a href="http://www.moca.org/" target="_blank">Museum of Contemporary Art</a>, the <a href="http://www.huntington.org/" target="_blank">Huntingdon collections</a>, and our
subject today, the Los Angeles County Museum of Art (<a href="http://www.lacma.org/?gclid=CKKKyKnk-LoCFceWtAodOREA0w" target="_blank">LACMA</a>).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>The Ascent of LACMA</u></div>
<div class="MsoNormal">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bzs4CKOIHmzapEtNYCIg7iHi0GrdwNxg8AveJqA9ZFJFx6ev2oXTx_XSgE-0OzqyhntXuK6w9n55gm8VIbnXQWQsuO5HFXSa1mS-1sL5_tJVZ0ylboaQqS7vx4k4xUsxWSDHtDwNggDD/s1600/Los_Angeles_County_Museum_of_Art_on_Wilshire_Boulevard,_1965.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7bzs4CKOIHmzapEtNYCIg7iHi0GrdwNxg8AveJqA9ZFJFx6ev2oXTx_XSgE-0OzqyhntXuK6w9n55gm8VIbnXQWQsuO5HFXSa1mS-1sL5_tJVZ0ylboaQqS7vx4k4xUsxWSDHtDwNggDD/s640/Los_Angeles_County_Museum_of_Art_on_Wilshire_Boulevard,_1965.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">LACMA in 1965 from Wilshire Boulevard</td></tr>
</tbody></table>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEudcgRn4gwKgVDQJU8XgPorUixvA8Xxa5C43gkxqO6Fggv5wx5nN2Mse15Dov-AU1rM_v5RYX3XATHj_Z7ehlDS0C5eWYKIa5Y1vfWLDC1_1GWdhk0wTdU9s5sZtgE5XXdQkp74vsovPL/s1600/lacmapeterzumthor1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEudcgRn4gwKgVDQJU8XgPorUixvA8Xxa5C43gkxqO6Fggv5wx5nN2Mse15Dov-AU1rM_v5RYX3XATHj_Z7ehlDS0C5eWYKIa5Y1vfWLDC1_1GWdhk0wTdU9s5sZtgE5XXdQkp74vsovPL/s640/lacmapeterzumthor1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An Architect's Vision for LACMA.</td></tr>
</tbody></table>
<br />
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<tr><td class="tr-caption" style="text-align: center;">Japanese Pavilion, LACMA</td></tr>
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LACMA has the distinction of being the largest museum in the
Western United States, and its gate is nearly a million visitors every year. Rising
up from Wilshire Boulevard against the torrid California sky, it resembles a
ziggurat (a raised up building) that is imposing and yet fragile in appearance,
typical of its architect <a href="http://en.wikipedia.org/wiki/William_Leonard_Pereira" target="_blank">William Leonard Pereira</a> who beat Miles van der Rohe of
the Bauhaus to the contract. One of the later museums in America, LACMA was
established in 1961, but moved to Wilshire Bld, a key arterial road that
connects east-west Los Angeles, in 1965. Prior to that LACMA formed part of the
Los Angeles Museum of History, Science and Art founded in 1910. LACMA’s holdings
are universal, encompassing all cultures of the world, and numbering a
staggering 100,000 art works. It was the largest, independent art museum in
America to be built after the Washington National Gallery of Art, though it is
more disparate and sprawling in nature than that venerable institution. During
the boom years of the 1980s, a record $209 m in private donations ensured
LACMA’s rise to prominence in the museum world. LACMA especially began to
acquire a vast amount of modern and contemporary art, with the help of wealthy
collectors like <a href="http://www.forbes.com/profile/eli-broad/" target="_blank">Eli Broad</a>, so a new structure was built to house this which
opened in 1986. Also in 1988, one of the most beautiful parts of the museum
opened: the <a href="http://articles.latimes.com/1988-09-25/entertainment/ca-3791_1_works-inside" target="_blank">Pavilion for Japanese Art</a> as well as the Cantor Sculpture Garden of
Rodin bronzes. Since 2004, LACMA has been undergoing further reconstruction
under the guidance of the architect Renzo Piano (who we met at Fort Worth last
week) aimed to unify LACMA’s spread of buildings. Part of this initiative
involved the employment of graffiti artists as well as the <a href="http://uk.phaidon.com/agenda/architecture/articles/2013/june/06/peter-zumthor-unveils-his-new-lacma/" target="_blank">plan </a>to work with
Hollywood and create an Academy Museum of Moving Pictures. LACMA has a vibrant
programme of exhibitions of which the most successful was the <i style="mso-bidi-font-style: normal;">Treasures of Tutankhamum</i> which drew 1.2
million visitors for four months in 1978.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<u>Deaccessioning, Sifting and Sorting. </u></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCgE2UFX3XpjrBu0KBAfSJ1rwcZmAfvbN3F8cA9eS4JEroYtoLY4IvUYpOo7M-yLy3I_kp40gkkqVxqJxdTeaDoEXUVU2w01hp0J5u6Q4DTf2ksqSAr140FdnLzT7_SWZMVERfEl6PwHUP/s1600/Govan.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCgE2UFX3XpjrBu0KBAfSJ1rwcZmAfvbN3F8cA9eS4JEroYtoLY4IvUYpOo7M-yLy3I_kp40gkkqVxqJxdTeaDoEXUVU2w01hp0J5u6Q4DTf2ksqSAr140FdnLzT7_SWZMVERfEl6PwHUP/s640/Govan.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Is Michael Govan going to deaccesson that piece of land art?</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn6OKrvgkZEmheaYeC0dG9VxbUgQlr7fTsRvTJwoi8ZmXpF9Hae5ezMUfTBDQr0v9W7i8BjiYUpBUWOnFr03EPh0bkGkz0Mt6Jv4g6GJldm37dRYqg0QW6nHaxK-wuysA0PBaSn_Z3oBMq/s1600/Saint_Cecillia_1775.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn6OKrvgkZEmheaYeC0dG9VxbUgQlr7fTsRvTJwoi8ZmXpF9Hae5ezMUfTBDQr0v9W7i8BjiYUpBUWOnFr03EPh0bkGkz0Mt6Jv4g6GJldm37dRYqg0QW6nHaxK-wuysA0PBaSn_Z3oBMq/s640/Saint_Cecillia_1775.jpg" width="362" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Deaccessioned Reynolds, St Cecilia, 2009. </td></tr>
</tbody></table>
One regrettable aspect of LACMA’s 2007 strategic plan was
the auctioning off 42 works of art, a process known in the art world as
deaccessioning. According to the Los Angeles Times, at a two day auction at
Sotheby’s New York in 2005 the museum sold $2.9 million worth of Impressionist and
modern art.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
The museum also racked up $4.9 million for a Modigliani portrait. Despite
criticism, LACMA has continued to “prune” their collections selling more art to
buy more art. According to current director or CEO <a href="http://howdyougetthere.williams.edu/?p=192" target="_blank">Michael Govan</a>, the museum is
occupied in the process of “sift and sort” which is designed to improve the
holdings of the museum. Deaccessioning directors are conspicuous by their
absence in the U.K., but in America they are more common. Although selling art
to gain other art does not violate “ethical museum guidelines” in America, It
is a questionable practice because these works were left by benefactors and
donors to be enjoyed by local populations and visitors to the museum. To give
just one example, Sir Joshua Reynolds 1775 <i style="mso-bidi-font-style: normal;">St
Cecilia</i> was donated to the museum by the Californian magnate William
Randolph Hearst in 1949 and went under the hammer in 2009.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
Whilst selling art to acquire other art
is considered acceptable in America, examples have been increasing of museums
deaccessioning for economic reasons which has been with public protest and
reprimands from museum oversight organizations. LACMA <a href="http://www.blouinartinfo.com/blog/tyler-green-modern-art-notes/michael-govan-on-lacmas-deaccessioning" target="_blank">does not follow this practice</a>, but then there's the <a href="http://www.nytimes.com/2013/09/11/arts/design/in-detroit-a-case-of-selling-art-and-selling-out.html?_r=0" target="_blank">Detroit situation</a>…</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Analysis of Old Masters at LACMA. <span style="mso-spacerun: yes;"> </span></u></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUTVVpm-3nFsQq5rDMmTBat-oaxxb1tqsidh9R2Zu9eKwRDD4MelYGdc0UGBcF7CoiOA-Rk-xlN1eikcdSh4KqpkrBxkjC9XnBnWFByHMDqa1J3ZUraiAnCcf2iCeHzW9BPEgzY5zHryS/s1600/Portrait_of_Marten_Looten,_1632.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUTVVpm-3nFsQq5rDMmTBat-oaxxb1tqsidh9R2Zu9eKwRDD4MelYGdc0UGBcF7CoiOA-Rk-xlN1eikcdSh4KqpkrBxkjC9XnBnWFByHMDqa1J3ZUraiAnCcf2iCeHzW9BPEgzY5zHryS/s640/Portrait_of_Marten_Looten,_1632.jpg" width="510" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<br />
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Rembrandt, Portrait of Marten Looten, 1632, Oil
on wood, 92.71 x 76.2 cm, Gift of J. Paul Getty</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZGg2_aBYfBCzxXnAENttufUJE_ZoKPT7niJn_ySpNzn8i0Il4jKErU_lJyT5DP4BQzzvNLC205066FCk-HnkE20JTT1FDcOh00Ngvn4-E-neHsyThwAkrV6Vb1I-1Xp-3oeE0X7K_7E9C/s1600/ma-31770455.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZGg2_aBYfBCzxXnAENttufUJE_ZoKPT7niJn_ySpNzn8i0Il4jKErU_lJyT5DP4BQzzvNLC205066FCk-HnkE20JTT1FDcOh00Ngvn4-E-neHsyThwAkrV6Vb1I-1Xp-3oeE0X7K_7E9C/s640/ma-31770455.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<br />
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Michael Sweerts, Plague in an Ancient City,
1652-1664, Oil on canvas, 118.75 x 170.82 cm, Gift of The Ahmanson Foundation</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMNIQhI4lt7Sy6GYhAiND3bmxABRrNYNVMQhS_jS2rz0cAGsOEq6wNEi0MlAkOWiP8wtcCuEhCXI_L_4mdZi1E7lbwf-MyxkQ2INhUYn1XIGUhiJmm-jHnV2W-Lnt6fIiYdpf2E48OQfi/s1600/ma-33108387-WEB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIMNIQhI4lt7Sy6GYhAiND3bmxABRrNYNVMQhS_jS2rz0cAGsOEq6wNEi0MlAkOWiP8wtcCuEhCXI_L_4mdZi1E7lbwf-MyxkQ2INhUYn1XIGUhiJmm-jHnV2W-Lnt6fIiYdpf2E48OQfi/s640/ma-33108387-WEB.jpg" width="458" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<br />
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>Carlo Saraceni, The Martyrdom of St Cecilia,
1610, Oil on canvas, 135.89 x 98.425 cm, Gift of The Ahmanson Foundation</div>
</td></tr>
</tbody></table>
LACMA is organized into <a href="http://collections.lacma.org/" target="_blank">22 divisions</a> including European
Painting, which amounts to about 386 paintings. It is the 17<sup>th</sup>
century <a href="http://collections.lacma.org/search/site/?f[0]=bm_field_has_image%3Atrue&f[1]=im_field_curatorial_area%3A41&f[2]=im_field_chronology%3A14327" target="_blank">section </a>that contains the most artworks (135), followed by art from
1751-1800 (rococo and neo-classical) numbering 58. If we drill down into the 17<sup>th</sup>
century further, we discover that the museum has a lot of Dutch and Flemish painting
or for convenience “Netherlandish” with the Italian baroque and French art
evenly matched, though there is hardly any Spanish painting. Very important
northern painters like <a href="http://collections.lacma.org/node/164934" target="_blank">Rubens</a>, <a href="http://collections.lacma.org/node/164923" target="_blank">Rembrandt </a>and <a href="http://collections.lacma.org/node/164632" target="_blank">Hals </a>have 2 or more works each;
and with the Italians there are 1 or more pieces by baroque artists like <a href="http://collections.lacma.org/node/157029" target="_blank">Guido Reni</a> (2) <a href="http://collections.lacma.org/search/site/Salvator%2520Rosa" target="_blank">Salvator Rosa (</a>3), Carlo <a href="http://collections.lacma.org/node/179328" target="_blank">Saraceni </a>(1) and <a href="http://collections.lacma.org/node/214907" target="_blank">Pietro da Cortona</a> (1). Mining
the “Netherlandish” seams even further, we see that it is quite a comprehensive
survey of Dutch art though the absence of Vermeer undoubtedly weakens that
claim. Of the 3 Rembrandts<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>,
all are of good quality, the Honthorst <a href="http://collections.lacma.org/node/197948" target="_blank"><i style="mso-bidi-font-style: normal;">ChristMocked</i></a> is a fine specimen of Utrecht painting; whilist there are lots of
“minor” Netherlandish painters represented like <a href="http://collections.lacma.org/node/212322" target="_blank">Avercamp</a>, <a href="http://collections.lacma.org/node/206153" target="_blank">Salomon de Bray</a> and
<a href="http://arthistoriesroom.wordpress.com/2013/08/19/michael-sweerts-on-the-art-market-1/" target="_blank">Sweerts</a>. With the French school, there is a <a href="http://collections.lacma.org/node/252426" target="_blank">Claude</a>, but no Poussin, though there
is a strong echo of the master’s <a href="http://www.nationalgallery.org.uk/paintings/research/the-plague-at-ashdod" target="_blank"><i>Plague at Ashdod</i> </a>(Louvre) in Sweert’s <a href="http://collections.lacma.org/node/183358" target="_blank"><i style="mso-bidi-font-style: normal;">Plaguein an Ancient City</i></a>. The “international baroque” is in evidence with 2 <a href="http://collections.lacma.org/node/201955" target="_blank">SimonVouet modellos</a>, not the best advertisements of his talents, though Valentin’s <i style="mso-bidi-font-style: normal;"><a href="http://collections.lacma.org/node/186803" target="_blank">Concert Party</a> </i>is good, Philippe de
Champaigne’s <a href="http://collections.lacma.org/node/171584" target="_blank"><i style="mso-bidi-font-style: normal;">St Augustine</i> </a>is very
good, and La Tour’s <a href="http://collections.lacma.org/node/238963" target="_blank"><i style="mso-bidi-font-style: normal;">Magdalene with the Smoking Flame</i></a> most excellent. <span style="mso-spacerun: yes;"> </span>Out of
the cluster of Spanish and Italian baroque pictures the highlight for me would
be the Venetian, Carlo Saraceni’s <i style="mso-bidi-font-style: normal;">Martyrdom
of St Cecilia</i> followed by Guido’s <i style="mso-bidi-font-style: normal;">Portrait
of Cardinal Roberto Ubaldino, Papal Legate to Bologna</i>.<span style="mso-spacerun: yes;"> </span>The Saraceni along with the La Tour,
Honthorst and Valentin were lent to an important exhibition staged in New South
Wales on the influence of Caravaggio several years ago.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a></div>
<div class="MsoNormal">
<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></span></span></span>
</div>
<div class="MsoNormal">
<u>Very brief note on LACMA Renaissance Art.</u></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4R8NFJrMNxWGcWSwDriZdVd7nJmtekwMPKVmZEg2brkSS9FZSYYy1TmuS9IAAokb-S2yuRjOTMt0cAyW51JuOHEa83O-ef_zKL3HmyrZ-_xs59IobmnawStjUGTfBhfzRj1JJgwUhCv_J/s1600/ma-31776631-WEB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4R8NFJrMNxWGcWSwDriZdVd7nJmtekwMPKVmZEg2brkSS9FZSYYy1TmuS9IAAokb-S2yuRjOTMt0cAyW51JuOHEa83O-ef_zKL3HmyrZ-_xs59IobmnawStjUGTfBhfzRj1JJgwUhCv_J/s640/ma-31776631-WEB.jpg" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Jacopo Bellini, Madonna and Child, 1465, Oil on
panel, 69.22 x 46.99 cm, Gift of The Ahmanson Foundation</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFxVJY262f58fTScIxUn9jIZ9bX3dcExtqLtjZ_oZ9PaQfKUO64qMcC3emPhS0Y_EQC1kk29IdZbOc-OoFTkw-1KWooeizf74vDPUvN1OTlnqDjUl68Qxgdj_jV_YzDAkb6E9s_ECj0U2O/s1600/ma-31773942-WEB.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFxVJY262f58fTScIxUn9jIZ9bX3dcExtqLtjZ_oZ9PaQfKUO64qMcC3emPhS0Y_EQC1kk29IdZbOc-OoFTkw-1KWooeizf74vDPUvN1OTlnqDjUl68Qxgdj_jV_YzDAkb6E9s_ECj0U2O/s640/ma-31773942-WEB.jpg" width="388" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><!--[if gte mso 9]><xml>
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<br />
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span>Fra Bartolomeo, Holy Family, 1497, Oil on
canvas, 151.13 x 90.81 cm, Gift of The Ahmanson Foundation</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwBGNippQFjxdkSk5eRFR2WSLOodXgSSunpIJLneNmv0pnRlo0YBP1BDK8f-ghm49OsByqCFT-qGIeDmjPw6FFuDVcbFSDZM2ORGNLerjAevtQy4zsFpS0rWtG0RQY7RaT1ge5twxDk3WY/s1600/Giacomo_Dolfin_(Tiziano).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwBGNippQFjxdkSk5eRFR2WSLOodXgSSunpIJLneNmv0pnRlo0YBP1BDK8f-ghm49OsByqCFT-qGIeDmjPw6FFuDVcbFSDZM2ORGNLerjAevtQy4zsFpS0rWtG0RQY7RaT1ge5twxDk3WY/s640/Giacomo_Dolfin_(Tiziano).jpg" width="540" /></a></td></tr>
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<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Titian, Portrait of Giacomo Dolfin, Oil on
canvas, 104.9 x 91 cm, Gift of The Ahmanson Foundation</div>
</td></tr>
</tbody></table>
The museum has about <a href="http://collections.lacma.org/search/site/?f[0]=bm_field_has_image%3Atrue&f[1]=im_field_curatorial_area%3A41&f[2]=im_field_chronology%3A14332" target="_blank">31 paintings</a> from the 13<sup>th</sup>
to 15<sup>th</sup> centuries, predominantly Italian “primitives” and
altarpieces. The most well-known painters here are the Florentine artist Fra
Bartolommeo (a handsome Raphaelesque <a href="http://collections.lacma.org/node/240384" target="_blank"><i style="mso-bidi-font-style: normal;">Holy Family</i></a>), the Venetian painters <a href="http://collections.lacma.org/node/215419" target="_blank">Cima da Conegliano</a> and <a href="http://collections.lacma.org/node/251165" target="_blank">Jacopo Bellini </a>(both <i style="mso-bidi-font-style: normal;">Holy Families</i>), and Titian, <a href="http://collections.lacma.org/node/246393" target="_blank"><i style="mso-bidi-font-style: normal;">Portrait of Portrait of Giacomo Dolfin</i>.</a>
The rest consist of works by unknown masters, or samples by lesser known
artists from Italy. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Notes on American Art at LACMA. </u></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL01BlbR4K033WBquLcsrU6IFizyLsPclV75cxJzMvH7gPDUnb86QqY3two2MKz6HTGX2O7T-vR6okJFGSbdkCeNssxs5ao_uRId5jOVlmTju8DAiMp9DiCfZqbTFcfELA6fKMVOsAy9p4/s1600/Benjamin_West_-_Thetis_bringing_the_Armor_to_Achilles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL01BlbR4K033WBquLcsrU6IFizyLsPclV75cxJzMvH7gPDUnb86QqY3two2MKz6HTGX2O7T-vR6okJFGSbdkCeNssxs5ao_uRId5jOVlmTju8DAiMp9DiCfZqbTFcfELA6fKMVOsAy9p4/s640/Benjamin_West_-_Thetis_bringing_the_Armor_to_Achilles.jpg" width="478" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Benjamin West, Thetis Bringing the Armour to
Achilles, 1804, Oil on canvas, 68.6 x 50.8 cm, Gift from the family of Bernice
West Beyers</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELY6PkIwzm-1o7dhY8JzAnZloa2ZAL8LplbTshhgfQmTwciN4_nQbzV-sBWc7z6-xdYzl7WNhzJ5Co_MzcrD03ycU2uD2KgeICRjQQZ08VXVJ81srpYetN41o5ExWzbVYIBMW7h-JN4Cl/s1600/Pablo_de_Sarasate-_Portrait_of_a_Violinist_LACMA_40.12.9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELY6PkIwzm-1o7dhY8JzAnZloa2ZAL8LplbTshhgfQmTwciN4_nQbzV-sBWc7z6-xdYzl7WNhzJ5Co_MzcrD03ycU2uD2KgeICRjQQZ08VXVJ81srpYetN41o5ExWzbVYIBMW7h-JN4Cl/s640/Pablo_de_Sarasate-_Portrait_of_a_Violinist_LACMA_40.12.9.jpg" width="528" /></a></td></tr>
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<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>William Merrit Chase, Pablo de Sarasate:
Portrait of a Violinist, c. 1875, Oil on canvas, 57.15 x 47.78 cm, Mary D. Keeler
Bequest</div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9EGg7y5gGK1MauggrbAy6AJe87kj58ZjSyhXMBYGHlxpBtAG8jtm8etUati0ReCJMEj_XJnKgA4jxNzodYtj05lv_NfZz1AJaz8mkr8hRqQKtA6bVbDS2pMW8nCKPMd_fiYPvftG54oYp/s1600/ma-31971909.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9EGg7y5gGK1MauggrbAy6AJe87kj58ZjSyhXMBYGHlxpBtAG8jtm8etUati0ReCJMEj_XJnKgA4jxNzodYtj05lv_NfZz1AJaz8mkr8hRqQKtA6bVbDS2pMW8nCKPMd_fiYPvftG54oYp/s640/ma-31971909.jpg" width="640" /></a></td></tr>
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<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Daniel Huntingdon, Philosophy and Christian Art,
1868, Oil on canvas, 102.55 x 127.95 cm, Gift of Will Richeson</div>
</td></tr>
</tbody></table>
The American school of painting is impressively covered with
about <a href="http://collections.lacma.org/search/site/?front=1&f[0]=bm_field_has_image%3Atrue&f[1]=im_field_curatorial_area%3A32" target="_blank">346 works </a>in this area of the collection. The standard is very high with
artists ranging from the neo-classical <a href="http://collections.lacma.org/node/171621" target="_blank">Benjamin West</a> to modern American artists
working in the styles of Cubism, surrealism and abstraction. The bulk of American
paintings fall into the time range of 1850-1930.<span style="mso-spacerun: yes;"> </span>Surveying this group shows pictures from lots
of different genres, thus creating a perspective on the world of
nineteenth-century America, as well as betraying the influence of European old
masters on American art. Recommended here are <i style="mso-bidi-font-style: normal;">Genre Scene</i> by the Californian artist <a href="http://collections.lacma.org/node/172849" target="_blank">Jules Pages</a>; William Merritt
Chase frank and moving portrait of the violinist <a href="http://collections.lacma.org/node/227881" target="_blank">Pablo da Sarasate</a>; Daniel
Huntington’s beautiful updating of Titian in his <a href="http://collections.lacma.org/node/236746" target="_blank"><i style="mso-bidi-font-style: normal;">Philosophy and Christian</i> <i style="mso-bidi-font-style: normal;">Art</i>;</a>
Robert Phillip’s brooding <a href="http://collections.lacma.org/node/246665" target="_blank">In a PensiveMood </a>which also shows his skill as a still life painter; John Singer
Sargeant’s <i style="mso-bidi-font-style: normal;"><a href="http://collections.lacma.org/node/237770" target="_blank">Portrait of Mme. FrançoisBuloz</a> </i>(Christine Blaze) which has an immediacy about it; <a href="http://collections.lacma.org/node/249015" target="_blank">a table-top still life </a>by Henry Lee Mcfee and an elegantly poised <a href="http://collections.lacma.org/node/240565" target="_blank">Japanese array </a>of objects from Elihu
Vedder.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Slides</u>. </div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Los Angeles from the air.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>LACMA on Wiltshire Boulevard, Los Angeles. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>LACMA and Wiltshire Bld in 1965. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>LA with view of Hollywood sign. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Downtown LA.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of Japanese Pavilion, LACMA. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Peter Paul Rubens, The Israelites Gathering
Manna in the Desert, c. 1626-27,<span style="mso-spacerun: yes;"> </span>Oil on
wood, 64.77 x 53.34 cm, Frances and Armand Hammer Purchase Fund (M.69.20)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, The Raising of Lazarus, 1630-32, Oil
on wood, 96.36 x 81.28 cm, Gift of H. F. Ahmanson and Company, in memory of
Howard F. Ahmanson (M.72.67.2)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, Portrait of Marten Looten, 1632, Oil
on wood, 92.71 x 76.2 cm, Gift of J. Paul Getty (53.50.3)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gerrit van Honthorst, The Mocking of Christ,
1617-20, Oil on canvas, 146.05 x 207.01 cm, Gift of The Ahmanson Foundation
(AC1999.92.1)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Michael Sweerts, Plague in an Ancient City,
1652-1664, Oil on canvas, 118.75 x 170.82 cm, Gift of The Ahmanson Foundation
(AC1997.10.1)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Salomon de Bray, Martyrdom of Saint Lawrence,
1652, Oil on canvas, 152.72 x 124.78 cm, Purchased with funds provided by the
Jones Foundation, the Joseph B. Gould Foundation, Fred Maxwell, and an
anonymous gift in memory of Dr. Charles Henry Strub by exchange (M.2003.4).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Laurent de la Hyre, Assumption of the Virgin,
1653-55, Oil on canvas, 74.93 x 52.71 cm, The Ciechanowiecki Collection, Gift
of The Ahmanson Foundation (M.2000.179.3)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Georges de La Tour, The Magdalene with the
Smoking Flame, c. 1638-40, Oil on canvas, 117 x 91.76 cm, Gift of The Ahmanson
Foundation (M.77.73)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Phillipe de Champaigne, St Augustine, 1645-50,
Oil on canvas, 78.7 x 62.2 cm, Gift of The Ahmanson Foundation (M.88.177).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Carlo Saraceni, The Martyrdom of St Cecilia,
1610, Oil on canvas, 135.89 x 98.425 cm, Gift of The Ahmanson Foundation
(AC1996.37.1)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Guido Reni, Portrait of Cardinal Roberto
Ubaldino, Papal Legate to Bologna, 1627, Oil on canvas, 196.85 x 149.23 cm,
Gift of The Ahmanson Foundation (M.83.109)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Salvator Rosa (and Studio), Odysseus and Nausicca,
oil on canvas, 190.5 x 158.75 x 8.89 cm, William Randolph Hearst Collection
(49.17.4)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jacopo Bellini, Madonna and Child, 1465, Oil on
panel, 69.22 x 46.99 cm, Gift of The Ahmanson Foundation (M.85.223).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Cima da Conegliano, Madonna and Child in a Landscape,
c. 1496-99, Oil on panel, 73.03 x 59.37 cm, Gift of The Ahmanson Foundation in
memory of Robert H. Ahmanson (M.2008.9)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Fra Bartolomeo, Holy Family, 1497, Oil on
canvas, 151.13 x 90.81 cm, Gift of The Ahmanson Foundation (M.73.83)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Titian, Portrait of Giacomo Dolfin, Oil on
canvas, 104.9 x 91 cm, Gift of The Ahmanson Foundation (M.81.24).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Benjamin West, Thetis Bringing the Armour to
Achilles, 1804, Oil on canvas, 68.6 x 50.8 cm, Gift from the family of Bernice
West Beyers (M.88.182)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jules Pages, Genre Scene, French Woman in
Kitchen Scene, Oil on canvas, 88.9 x 72.39 cm, Gift of Dr. and Mrs. Christian
Title (M.91.309.3)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>William Merritt Chase, Pablo de Sarasate:
Portrait of a Violinist, c. 1875, Oil on canvas, 57.15 x 47.78 cm, Mary D. Keeler
Bequest (40.12.9).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Daniel Huntington, Philosophy and Christian Art,
1868, Oil on canvas, 102.55 x 127.95 cm, Gift of Will Richeson (M.69.48)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Engraving of Philosophy and Christian Art.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Robert Phillipp, In a Pensive Mood, before 1935,
Oil on canvas, 86.84 x 101.92 cm, Gift of Terry De Lapp in Memory of Yrma
Marcus (M.81.197)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">29)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John Singer Sargeant, Mme. François Buloz
(Christine Blaze), 1879, Oil on canvas, 54.77 x 46.67 cm, Gift of Mr. and Mrs.
Harry F. Sinclair and Mary D. Keeler Bequest (M.71.70).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">30)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Henry Le McFee, Still Life with Carafe, 1931,
Oil on canvas, 81.92 x 76.68 cm, Gift of Mr. and Mrs. David N. Allison in
memory of Mr. and Mrs. David C. Allison (M.84.196)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">31)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Elihu Vedder, Japanese Still Life, 1879, Oil on
canvas, 54.5 x 88.4 cm, Gift of the American Art Council (M.74.11).<br />
<br />
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Reyner Banham, <i style="mso-bidi-font-style: normal;">Los Angeles: The
Architecture of Four Ecologies (University </i>of California Press, 1971), 3. Click here to view a <a href="http://www.youtube.com/watch?v=WlZ0NbC-YDo" target="_blank">film </a>about Banham and L.A. </div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Ibid.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
Los Angeles Times, LACMA art brings in $13 million, 4/11/2005. <a href="http://articles.latimes.com/2005/nov/04/entertainment/et-auction4" target="_blank">link</a></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> AS
reported by the LA Times. <a href="http://latimesblogs.latimes.com/culturemonster/2009/01/lacma-art-sales.html" target="_blank">link</a> </div>
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<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
Gary Schwartz in <i style="mso-bidi-font-style: normal;">Rembrandt, His Life, His
Paintings</i>, (Penguin, 1985) lists a fourth, “Portrait of a Young Woman”
which was on loan, 379. </div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a>
John Spike and others, <i style="mso-bidi-font-style: normal;">Darkness and
Light: Caravaggio and his Followers</i>, New South Wales, 2003-4, nos 29, 32,
45, 51. </div>
</div>
</div>
Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7794919694945333232.post-75730386883738492022013-11-15T09:06:00.002-08:002013-11-15T09:29:53.776-08:00Kimbell Art Museum, Fort Worth, Texas<!--[if !mso]>
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<u>A Little Museum in Texas.</u></div>
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Elizabeth Warren, 1759, Oil on canvas, 238.1 x 147.8 cm, acq1961, formerly in Kay Kimbell's collection</div>
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Before we jet over to the West Coast and the Californian
sunshine, we are required to make a short detour to Texas, to the city of Fort
Worth, in North Central Texas.<span style="mso-spacerun: yes;"> </span>Fort
Worth is home to several museums and collections: the <a href="http://www.cartermuseum.org/" target="_blank">Amon Carter Museum</a>, the
<a href="http://themodern.org/" target="_blank">Modern Art Museum of Fort Worth,</a> the <a href="https://www.kimbellart.org/" target="_blank">Kimbell Art Museum</a>, and smaller holdings
like the <a href="http://www.cowgirl.net/" target="_blank">National Cowgirl Museum</a>!<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
The most well-known is the Kimbell whose origins can be traced back to the
years before the Second World War, when a wealthy businessman <a href="http://en.wikipedia.org/wiki/Kay_Kimbell" target="_blank">Kay Kimbell</a>
started to acquire art, with the help of the <a href="http://research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=6134" target="_blank">Newhouse Galleries</a> in New
York.<span style="mso-spacerun: yes;"> </span>Kimbell’s taste was for elegant English
portraiture of the 18<sup>th</sup> century. For example, he owned a full-length
Joshua Reynolds, formerly in the collection of William Randolph Hearst, shown here. Kimbell’s
art collecting led to the creation of an Art Foundation named after him. When Kimbell
died in 1964, he left instructions for the building of an art museum in Fort
Worth. With the financial support of Kimbell’s widow, the architect Louis I.
Kahn constructed what has been called “an unpretentious building on a
comfortable scale, well in line with post-war architectural thinking and in
marked contrast to such museums in the European ‘grand manner’ as the National
Gallery in Washington.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2] </span></span></span></span></a><a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span></span></span></a></div>
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<u>Discernment and Quality at the Kimbell: The Permanent Collection.</u></div>
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1619-20, Oil on canvas, 97.2 x 124.8 cm, acq in 2010 in honour of Ted Pillsbury</div>
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Oil on canvas, 106 x 131 cm, AP 1982.01 </div>
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Compared to museum behemoths like the Washington National
Gallery and the Met in New York, the Kimbell is quite small. Its permanent
collection numbers about 350 works of art, but as the museum’s website states, the
gallery “is distinguished by an extraordinary level of artistic quality and
importance.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
Instead of completion, the Kimbell stresses quality to be judged from an
aesthetic standpoint, an outmoded view these days.<span style="mso-spacerun: yes;"> </span>The goal of the Kimbell is “definitive
excellence, not the size of the collection.” Those who make the decisions about
what to acquire practice discernment; in other words they demonstrate keen
insight and judgement in their choice of acquisitions like the Guercino and Caillebotte shown above. The Kimbell has been
content to leave the task of broadening collections, schools and stylistic
surveys to the major museums that have the ambitions, and the financial
resources to deepen their holdings. <span style="mso-spacerun: yes;"> </span>What
the Kimbell does have in common with other American traditional museums,
however, is a collection of modern art, though the whole gallery does omit
American art which it leaves to its neighbour, the Amon Carter Museum. <span style="mso-spacerun: yes;"> </span>The Kimbell is organized into <a href="https://www.kimbellart.org/collections/all" target="_blank">five divisions</a>:
Antiquities; European Art; Asian Art; Pre-Columbian Art; and African and
Oceanic Art. <span style="mso-spacerun: yes;"> </span>As befits the old master
theme we shall consider European painting with the particular focus on the
seventeenth-century, a solid area of the museum.<br />
<br />
</div>
<div class="MsoNormal">
<u>Brief Overview of the European Paintings. </u></div>
<div class="MsoNormal">
<br /></div>
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<u><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBo6u6HWPdeU3FKHVE-CJZoNIEe7YQvBB_GnaSm3jhNmIvbBZUsyx0eWmtAMvoNH7jbI_EXEQ_Cxhn6pwAig7sOHohK_QhclfIdSBdOttD6N2BHhwjtUsmNLrvYIERN4HcWbfuO-m1MQ9i/s1600/AP2009_02_MAIN1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBo6u6HWPdeU3FKHVE-CJZoNIEe7YQvBB_GnaSm3jhNmIvbBZUsyx0eWmtAMvoNH7jbI_EXEQ_Cxhn6pwAig7sOHohK_QhclfIdSBdOttD6N2BHhwjtUsmNLrvYIERN4HcWbfuO-m1MQ9i/s640/AP2009_02_MAIN1.jpg" width="640" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1</span></span></div>
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Richard Parkes Bonington, The Grand Canal,
Venice looking towards the Rialto Bridge, 1826, Oil on millboard, 35.2 x 45.4
cm, acq 2009.Feigens, New York </td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Ribera, St Matthew, 1632, Oil on canvas, 128.2 x
97.8 cm, acq 1966.</div>
</td></tr>
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</u></div>
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The European collection at Kimbell is organized as follows:
schools of <a href="https://www.kimbellart.org/collections/british" target="_blank">British</a>, <a href="https://www.kimbellart.org/collections/french" target="_blank">French</a>, <a href="https://www.kimbellart.org/collections/italian" target="_blank">Italian</a>, <a href="https://www.kimbellart.org/collections/northern-european" target="_blank">Northern European </a>(Flemish, Dutch, German)
and <a href="https://www.kimbellart.org/collections/spanish" target="_blank">Spanish</a>. The timeline runs from the early renaissance with artists like
<a href="https://www.kimbellart.org/collection-object/raising-lazarus" target="_blank">Duccio</a>, and ends in the middle of the twentieth century. The British School (14
works) reflects the founding taste of Kimbell with eighteenth-century portraits
by <a href="https://www.kimbellart.org/collection/search/view/590?text=reynolds" target="_blank">Reynolds</a>, <a href="https://www.kimbellart.org/collection/search/view/585?text=reynolds" target="_blank">Gainsborough </a>and <a href="https://www.kimbellart.org/collection/search/view/589?text=romney" target="_blank">Romney </a>from the age of elegance. The other main
genre is landscape with romantic views by <a href="https://www.kimbellart.org/collection/search/view/581?text=Wilson" target="_blank">Wilson</a>, <a href="https://www.kimbellart.org/collection/search/view/620?text=Turner" target="_blank">Turner </a>and <a href="https://www.kimbellart.org/collection/search/view/565?text=Turner" target="_blank">Bonington</a>.
Counting sculptures, reliquaries with the paintings, the French holdings number
about 60 works. These are of whole periods and encompass the classical age of
<a href="https://www.kimbellart.org/collection/search/view/784?text=Poussin" target="_blank">Poussin </a>through the rococo to the early modernism of <a href="https://www.kimbellart.org/collection/search/view/1254?text=Leger" target="_blank">Leger</a>. The Italian School
is about half the number of the French with (including sculpture and objects
again just under 40 works) including Mantegna and Caravaggio. The “Northern
European” section is quite small but very diverse including a mythology from
<a href="https://www.kimbellart.org/collection/search/view/555?text=Cranach" target="_blank">Cranach </a>and two grid like abstract paintings from the modern Dutch artist <a href="https://www.kimbellart.org/collection/search?text=Mondrian" target="_blank">Piet Mondrian</a>. The Spanish School is the smallest section, but does boast good
examples of <a href="https://www.kimbellart.org/collection/search/view/619?text=Ribera" target="_blank">Ribera</a>, <a href="https://www.kimbellart.org/collection/search/view/778?text=Murillo" target="_blank">Murillio </a>and <a href="https://www.kimbellart.org/collection/search/view/756?text=Picasso" target="_blank">Picasso</a>, - quite a compact but engrossing
collection. </div>
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<br /></div>
<div class="MsoNormal">
<u>The Seventeenth- Century paintings.</u></div>
<div class="MsoNormal">
<br /></div>
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on canvas, 97.8 x 156.2 cm, acq 1981..</div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Murillio, Four Figures, c. 1655–60, Oil on
canvas, 109.9 x 143.5 cm, acq 1984. </div>
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The Kimbell Art museum is famous for its collection of
seventeenth- century art, as well as the exhibitions which sometimes act as
adjuncts to this part of the permanent collection. In 1988, an exhibition of
Poussin’s early works was organized by the late <a href="http://www.dictionaryofarthistorians.org/oberhuberk.htm" target="_blank">Konrad Oberhuber</a> with the
cooperation of the museum’s then director <a href="http://www.nytimes.com/2010/03/31/arts/design/31pillsbury.html" target="_blank">Edward (Ted) Pillsbury.</a> One of the
Poussins that the museum had bought in 1984 (<i style="mso-bidi-font-style: normal;">Venus and Adonis</i>) was made the centrepiece of the exhibition and
corresponding symposium.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
As remarked by one Poussin scholar, the Poussin exhibition was linked to the Kimbell’s
policy of “adventurous buying” in the 17th century.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
More recently during 2010-11, the Kimbell hosted an <a href="https://www.kimbellart.org/exhibition/salvator-rosa-bandits-wilderness-and-magic" target="_blank">exhibition </a>of <a href="https://www.kimbellart.org/collection/search/view/669?text=Rosa" target="_blank">Salvator Rosa’s </a>paintings in conjunction with the Dulwich Picture Gallery in the U.K.
that included the Kimbell’s <i style="mso-bidi-font-style: normal;">Pythagoras
Emerging from the Underworld</i>.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a>
Most of the seventeenth-century art in the Kimbell is French and Italian, with
the former easily in the ascendant. There probably wouldn’t be much dispute
amongst scholars that Caravaggio’s <i style="mso-bidi-font-style: normal;">The
Card Sharps</i> is the best Italian early modern masterpiece here, although there
are fine canvases by Guercino, <a href="https://www.kimbellart.org/collection/search/view/731?text=Carracci" target="_blank">Annibale Carracci</a>, <a href="https://www.kimbellart.org/collection/search/view/767?text=Cortona" target="_blank">Pietro da Cortona</a> and
<a href="https://www.kimbellart.org/collection/search/view/734?text=Cavallino" target="_blank">Cavillino </a>from Naples. The strongest French presence here is Poussin,
especially with the Kimbell’s purchase of his canonical <i style="mso-bidi-font-style: normal;">Ordination</i> from the first set of <i style="mso-bidi-font-style: normal;">Seven Sacraments</i>.<span style="mso-spacerun: yes;"> </span>Next after
Poussin is his friend and Roman neighbour <a href="https://www.kimbellart.org/collection/search/view/740?text=Claude" target="_blank">Claude </a>whose <i>Europa</i><i style="mso-bidi-font-style: normal;"> and the Bull</i> and <i style="mso-bidi-font-style: normal;">Pastoral Landscape</i> are owned by the museum.<span style="mso-spacerun: yes;"> </span>Complimenting Caravaggio’s <a href="https://www.kimbellart.org/collection/search/view/496?text=Caravaggio" target="_blank"><i style="mso-bidi-font-style: normal;">Cardsharps</i> </a>is Georges de La Tour’s own
<a href="https://www.kimbellart.org/collection/search/view/738?text=Georges%20de%20La%20Tour" target="_blank">version </a>of the subject; both paintings were shown in an <a href="https://www.kimbellart.org/exhibition/georges-de-la-tour-and-his-world" target="_blank">exhibition </a>of La Tour’s
art at Washington and Fort Worth in 1998.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
<span style="mso-spacerun: yes;"> </span>In a similar realist vein, the Kimbell
owns a <a href="https://www.kimbellart.org/collection/search/view/782?text=Le%20Nain" target="_blank">painting </a>of peasants by the Le Nain Brothers from Northern France. Amongst
the northern European contingent are a <a href="https://www.kimbellart.org/collection/search/view/511?text=Elsheimer" target="_blank"><i style="mso-bidi-font-style: normal;">Flightinto Egypt</i></a> by Adam Elsheimer, an equestrian <a href="https://www.kimbellart.org/collection/search/view/706?text=Rubens" target="_blank">portrait </a>of the Duke of
Buckingham by Rubens, a <a href="https://www.kimbellart.org/collection/search/view/547?text=Dou" target="_blank">Dentist byCandlelight </a>by Dou, one of Rembrandt’s pupils, and by Rembrandt himself,
the <a href="https://www.kimbellart.org/collection/search/view/912?text=Rembrandt" target="_blank"><i style="mso-bidi-font-style: normal;">Bust of a Young Jew</i>.</a><span style="mso-spacerun: yes;"> </span>The Kimbell seventeenth-century collection is
rounded out by <a href="https://www.kimbellart.org/collections/spanish" target="_blank">Spanish painters </a>like El Greco, Ribera, and Murillio. </div>
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<br /></div>
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<u>A Note on Kimbell’s Renaissance Paintings.<span style="mso-spacerun: yes;"> </span></u></div>
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<br /></div>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Fra Angelico, The Apostle St James the Greater
Freeing<span style="mso-spacerun: yes;"> </span>the Magician Hermogenes, c.
1426-29, Tempera and gold on panel, 26.8 x 23.8 cm, acq 1986. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Andrea Mantegna, Holy Family with St Elizabeth
and the Infant John the Baptist, <span style="mso-spacerun: yes;"> </span>c.
1485–88, Distemper, oil, and gold on canvas, 62.9 x 51.3 cm, acq 1987. </td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Ercole di Roberti, Portia and Brutus, 1486-90, Tempera,
possibly oil, and gold on panel, 48.7 x 34.3 cm, acq 1986.</div>
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<u><span style="mso-spacerun: yes;"> </span></u>Though the Kimbell renaissance collection is small, it does
contain some big names such as Duccio, Fra Angelicio, Giovanni Bellini,
Mantegna, Memling and Parmigianino. <span style="mso-spacerun: yes;"> </span>One
can appreciate the Kimbell’s insistence on quality with these paintings. For
example, the Mantegna <i style="mso-bidi-font-style: normal;"><a href="https://www.kimbellart.org/collection/search/view/494?text=Mantegna" target="_blank">Holy Family</a><b style="mso-bidi-font-weight: normal;">,</b></i> painted in distemper, is impressive
and was deemed important enough to be included in the ground-breaking
exhibition of the painter in 1992, staged in New York and London. Its
provenance can be traced back to a private collection in Marseilles, after
which it was bought at auction by the Kimbell in 1986.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a>
<span style="mso-spacerun: yes;"> </span>In addition to famous renaissance
artists like Mantegna, there are minor painters like <a href="https://www.kimbellart.org/collection/search/view/484?text=Ercole%20Roberti" target="_blank">Ercole Roberti</a> and other
curious works which lend a distinctive flavour to the museum’s collection of
renaissance art. In 1969 the Kimbell obtained a three-panelled structure, which
due to the nature of its inscriptions, have come to be known as <a href="https://www.kimbellart.org/collection/search/view/640?text=Barnabas" target="_blank">“The BarnabasAltarpiece.” </a></div>
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<u>Towards the Future. </u></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMnPuw0aijJ4ZqjHybir40n6rweD2wS0-5PL9rlAmXtp9e4hyTUnK3l5xEYq-buXl3Eatry82e8ycf3wA_kRVJoeEAwXLXZLYw7SFc37dgFqUDFwBgUnKi7j7LB1TgkWqk03ifbicg1id4/s1600/poussin_rutland_rv1995pl39.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMnPuw0aijJ4ZqjHybir40n6rweD2wS0-5PL9rlAmXtp9e4hyTUnK3l5xEYq-buXl3Eatry82e8ycf3wA_kRVJoeEAwXLXZLYw7SFc37dgFqUDFwBgUnKi7j7LB1TgkWqk03ifbicg1id4/s640/poussin_rutland_rv1995pl39.jpg" width="640" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Nicolas Poussin, Ordination, 1638-40, formerly
owned by Duke of Rutland, acq by the Kimbell for $24.3 m after it had failed to sell at auction.</div>
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On the 27<sup>th</sup> of this month the Kimbell will open
its newly built Piano Pavilion, directly across the lawn from the main museum.
Designed by the architect Renzo Piano, the building in addition to providing an
architectural counterpoint to the arches of the Kahn main complex, will also
provide extra space for the museum’s expanding collection. Amongst its most
recent acquisitions are Richard Parkes Bonington’s oil sketch of a <i style="mso-bidi-font-style: normal;">View of Venice</i>, offered to the museum by
the dealer Richard Feigen of New York in 2009; Guercino’s <i style="mso-bidi-font-style: normal;">Christ and the Woman of Samaria</i> (acq privately in 2010 in honour of
Ted Pillsbury who was responsible for securing many masterpieces); and their most spectacular <a href="http://www.nytimes.com/2011/09/09/arts/design/kimbell-art-museum-acquires-poussins-ordination.html?pagewanted=all" target="_blank">purchase</a>, Poussin’s <i style="mso-bidi-font-style: normal;">Ordination</i> in 2011 from his first set of
<i style="mso-bidi-font-style: normal;">Sacraments</i> acquired after it had
<a href="http://artintheblood.typepad.com/art_history_today/2010/12/poussin-beats-the-market.html" target="_blank">failed to sell </a>at auction at Christie’s who had an estimate of £24.3 to 31 m.<br />
<br />
From
the museum’s <a href="https://www.kimbellart.org/collections/recent-acquisitions/poussin" target="_blank">website</a>: ‘“The Kimbell Art Foundation was represented in the
negotiation of the painting's purchase by Robert Holden Ltd. and Sotheby's. The
Kimbell secured an export license in August of 2011. In documents made public,
the expert advisor for the British Reviewing Committee on the Export of Works
of Art and Objects of Cultural Interest wrote, "Poussin's depictions of
these sacred ceremonies represent one of the supreme artistic, intellectual and
spiritual achievements in Western art and thought."’ As a Poussin scholar,
the author applauds the Kimbell, but laments the departure of yet another
Poussin from these shores. At the last count, there were about 32 Poussins in
America. The Kimbell’s gain is our loss! With these impressive acquisitions
which clearly prove the museum’s discernment, the Kimbell occupies a strong
position. It will undoubtedly build on these achievements and its inspiring
past exhibition programme by creating a modest, but significant series of
future exhibitions and acquisitions. Currently the museum is hosting <a href="https://www.kimbellart.org/exhibition/age-picasso-and-matisse-modern-masters-art-institute-chicago" target="_blank"><i style="mso-bidi-font-style: normal;">The Age of Picasso and Matisse: ModernMasters from The Art Institute of Chicago</i></a>, which is appropriate for the
unveiling of the finished, modernist annexe. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Slides. </u></div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of Fort Worth skyline at night. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Map of Southern United States with Fort Worth’s
location.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Exterior Views of the Kimbell Art Museum, Fort
Worth.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Interior showing works in situ. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Joshua Reynolds, Portrait of a Woman, possibly
Elizabeth Warren, 1759, Oil on canvas, 238.1 x 147.8 cm, ACF 1961.02<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Thomas Gainsborough, Portrait of a Woman,
possibly of the Lloyd Family, c. 1750, Oil on canvas, 69.6 x 53 cm, ACF 1946.04.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Unknown Artist, The Barnabas Altarpiece, South-western
French or Northern Spanish (?), 13–14th century, c. 1275–1350, Tempera, oil,
and gold on panel, Left: 91 x 36.5 cm; Center: 91 x 57 cm; Right: 91 x 37 cm; Framed:
106.4 x 153 x 5.7 cm, AP 1969.06 a,b,c<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Fra Angelico, The Apostle St James the Greater
Freeing<span style="mso-spacerun: yes;"> </span>the Magician Hermogenes, c.
1426-29, Tempera and gold on panel, 26.8 x 23.8 cm, AP 1986.03<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Andrea Mantegna, Holy Family with St Elizabeth
and the Infant John the Baptist, <span style="mso-spacerun: yes;"> </span>c.
1485–88, Distemper, oil, and gold on canvas, 62.9 x 51.3 cm, AP 1987.04.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Giovanni Bellini, c. 1500, Tempera, oil, and
gold on panel, 59 x 47 cm, AP 1967.07<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ercole Roberti, Portia and Brutus, 1486-90, Tempera,
possibly oil, and gold on panel, 48.7 x 34.3 cm, AP. 1986.05<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Hans Memling, Portrait of Jacob Obrecht, 1496,
Oil on oak panel, 50,8 x 36,1 cm, AP 1993.02.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rear, unidentified figure.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jan Gossart, known as Mabuse, Portrait of a Man,
1520-25, Oil on oak panel, 57 x 46 cm, AP 1979.30.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Adam Elsheimer, The Flight into Egypt, c. 1605,
Oil on silvered copper, oval 10 x 7,6 cm AP 1994.01.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Nicolas Poussin, Ordination, 1638-40, formerly
owned by Duke of Rutland, acq by the Kimbell at auction 2011 for $24.3 m.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Claude, Landscape with Europa and the Bull, 1634,
Oil on canvas, 170.8 x 199.7 cm, AP 1981.08<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Salvator Rosa, Pythagoras Emerging from the
Underworld, 1662, Oil on canvas, 131.2 x 189 cm, AP 1970.22.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Caravaggio, The Cardsharps, c. 1596, Oil on
canvas, 92 x 129 cm, AP 1987.06<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="mso-spacerun: yes;"> </span>Infrared
reflectogram showing change of position of young man’s hand. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Il Guercino, Christ and the Woman of Samaria, .
1619-20, Oil on canvas, 97.2 x 124.8 cm, AP 2010.01.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Georges de La Tour, The Cheat, c. 1630-34, Oil
on canvas, 97.8 x 156.2 cm, AP 1981.06.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Frans Hals, The Rommel Pot Player, c. 1618–22,
Oil on canvas, 106 x 80.3 cm, ACF 1951.01<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ribera, St Matthew, 1632, Oil on canvas, 128.2 x
97.8 cm, AP 1966.1<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>El Greco, Portrait of Dr Francisco Pisa,
1610–14, oil on canvas, 107 x 90 cm, AP 1977.05<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Murillio, Four Figures, c. 1655–60, Oil on
canvas, 109.9 x 143.5 cm, AP 1984.18<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Chardin, Portrait of a Young Artist Sketching, c.
1738, Oil on panel, 21 x 17.1 cm, AP 1982.07<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Richard Parkes Bonington, The Grand Canal,
Venice looking towards the Rialto Bridge, 1826, Oil on millboard, 35.2 x 45.4
cm, AP 2009.02<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">29)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Delacroix, Selim and Zuleika, 1857, Oil on
canvas, 47.6 x 40 cm, AP 1986.04.<br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">30)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Claude
Monet, La Pointe de la Hève at Low Tide, 1865, Oil on canvas, 90 x 150 cm.</span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">31)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gustave Caillebotte, On the Pont de l'Europe, 1876-77,
Oil on canvas, 106 x 131 cm, AP 1982.01 <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">32)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of Piano Pavilion, Kimbell Art Museum,
designed by Renzo Piano.
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a> On
the Modern Art Museum, see Catherine Craft, The Modern Art Museum of Fort
Worth, editorial, <i style="mso-bidi-font-style: normal;">The Burlington Magazine</i>,
Vol. 145, No. 1201, (Apr., 2003), pp. 263-264. </div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
K.R, The Kimbell Art Museum, Fort Worth, <i style="mso-bidi-font-style: normal;">The
Burlington Magazine</i>, Vol. 114, No. 837, (Dec, 1972), pp. 889- 892. </div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> <a href="https://www.kimbellart.org/collections/about" target="_blank">link</a>. </div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
Konrad Oberhuber, <i style="mso-bidi-font-style: normal;">Poussin, the Early Years
in Rome: The Origins of French Classicism</i>, (Fort Worth, 1988). </div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a> Elizabeth
Cropper, Early Poussin: Fort Worth, <i style="mso-bidi-font-style: normal;">The
Burlington Magazine</i>, Vol. 130, No. 1029, (Dec, 1988), 958-962. </div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a> Helen
Langdon, Xavier F. Salomon, Catherina Volpi <i style="mso-bidi-font-style: normal;">Salvator
Rosa</i>, exhibition catalogue, (Dulwich Picture Gallery, Kimbell Art Museum,
Fort Worth, (2010-11), no. 31.</div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a> Philip
Conisbee and others, <i style="mso-bidi-font-style: normal;">Georges de La Tour
and his World</i>, (National Gallery of Art, Washington, Kimbell Art Museum,
Fort Worth, 1997), nos. 18 (La Tour), 41 (Caravaggio). <span style="mso-spacerun: yes;"> </span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a> <i style="mso-bidi-font-style: normal;">Andrea Mantegna</i>, (ed Jane Martineau),
Met, New York, Royal Academy, London (1992), no. 51.</div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7794919694945333232.post-21594388538369088372013-11-08T06:47:00.000-08:002013-11-08T07:01:00.135-08:00Washington, National Gallery of Art<!--[if !mso]>
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<u>A National Gallery of America.</u></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZLOAM5zrt-hM6sZwcAXhyphenhyphenPcjGKM2HHbICdYQDAgLuT_GV3dhiSWUW-NrPkapcvrGP_pKWr-ZzBYJ2_hCtrV49sZHarSuRcUz5RzUWKeiokgvvj0sS1cY-k8gO8QKPT0nCvZZSsrlBqdn/s1600/NatGal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZLOAM5zrt-hM6sZwcAXhyphenhyphenPcjGKM2HHbICdYQDAgLuT_GV3dhiSWUW-NrPkapcvrGP_pKWr-ZzBYJ2_hCtrV49sZHarSuRcUz5RzUWKeiokgvvj0sS1cY-k8gO8QKPT0nCvZZSsrlBqdn/s640/NatGal.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">West Building, NGA.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">NGA, Satellite View.</td></tr>
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When the Founding Fathers sat down to consider where the
capitol of the American Republic should be, they discarded the idea of calling
existing cities such as New York and Philadelphia the capital of America.
Instead, they opted for a completely fresh location which would not be tarnished
with any royalist and colonial associations.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
In 1791 the Founding Fathers chose the site of a “new Rome” and within two
hundred years this swamp of land with mosquitoes would evolve into the most
powerful city on earth.<span style="mso-spacerun: yes;"> </span>And as with any
great city, architecture played its part too though Washington D.C. is a complex
patchwork of greatly varied styles. Where the <a href="http://www.nga.gov/content/ngaweb.html" target="_blank">National Gallery of Art (</a>NGA) is concerned, the
architect <a href="http://www.nytimes.com/books/first/b/bedford-pope.html" target="_blank">John Russell Pope </a>designed the original neo-classical West Building (1941)
which is linked underground to the East Building (1978), built by I.E. Pei in
1978. There is also a sculpture garden which took 30 years in the planning and
completion and features both figurative and abstract sculpture. The West
Building contains art from the medieval period to the 19<sup>th</sup> century
and the East Building houses modern and contemporary art. Thanks to generous
funding from the U.S. government, the museum is free of charge to visitors. It
is a later museum than the ones previously considered since it was opened to
the public in 1937 and was inaugurated in 1941. The maintenance and upkeep of
the building is the responsibility of the Federal Government, but art
acquisition is supported by the private sector. Thanks to this successful
collaboration the NGA has comprehensive collections of art spanning the 14<sup>th</sup>
to the 21<sup>st</sup> centuries. It almost certainly boasts the best
collection of Italian renaissance art in the U.S.A.</div>
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<br /></div>
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<u>Andrew Mellon, Philanthropist.</u></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrBn8j2grUJ87vpdEPsQ5qrbUP_25F4OOZAItqMLO5abgqsNwwIxunwD70hQKoOvacHUSqi1omA9t3R3SoiLinfnCInyniejiPNvBuKwY6F3W-_vEal0ivCPo3iL1kJ2f9YxxA4AlqIfCc/s1600/AWMellon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrBn8j2grUJ87vpdEPsQ5qrbUP_25F4OOZAItqMLO5abgqsNwwIxunwD70hQKoOvacHUSqi1omA9t3R3SoiLinfnCInyniejiPNvBuKwY6F3W-_vEal0ivCPo3iL1kJ2f9YxxA4AlqIfCc/s640/AWMellon.jpg" width="562" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Andrew Mellon, unknown photographer</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxP8l7IWNYk9bSLDqZRLhtoYrICM-KJmTu5tsCipsql0nXQ32inyNKLDkXN4dPod6jHIpp41cGtLGkY1avJy4oYUiOp-UJAmnXp5TG4grEA1yMwLi2qhc_uYPS-YLdFCRW2yHhcThgGJK8/s1600/A15528.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxP8l7IWNYk9bSLDqZRLhtoYrICM-KJmTu5tsCipsql0nXQ32inyNKLDkXN4dPod6jHIpp41cGtLGkY1avJy4oYUiOp-UJAmnXp5TG4grEA1yMwLi2qhc_uYPS-YLdFCRW2yHhcThgGJK8/s640/A15528.jpg" width="640" /></a></td></tr>
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<a href="http://en.wikipedia.org/wiki/Andrew_W._Mellon" target="_blank">Andrew Mellon</a> from Pittsburgh was
a financial prodigy who after setting up his own company joined his father’s bank
in 1880, and two years later was owner of the bank transferred to him. A man of
energy, vision and financial nous, Mellon easily became one of the wealthiest
persons living in the United States.<span style="mso-spacerun: yes;"> </span>He
eventually rose to be Secretary of Treasury in 1921 and set in train plans for
coping with the debt caused by World War I before his professional career ended
in some ignominy before he died in 1937. In addition to establishing the NGA,
his other philanthropic achievements include the Carnegie Mellon University, and
he held the posts of president and trustee of the University of Pittsburgh to
which he donated $43 million. The NGA’s old master collection originates with
Andrew Mellon, who in addition to having an impressive collection of art,
desired to build a gallery for the nation inspired by the National Gallery in
London. The Gallery was authorized in 1937 by Congress, and it opened to the
public in 1941 after Mellon’s death with an inaugural address by President
Roosevelt. The aim of NGA was to be self-governing; not under the control of
Washington’s other major museum the Smithsonian which then took the name
“National Collection of Fine Arts.” It cost about $25 for Mellon to build his
collection which has been valued at $40 m. Mellon had nearly 400 old master
works comprising important examples from all the major schools of art, but in
1930 he formed a trust and this body purchased from the Hermitage 21 paintings
including high-quality works by Raphael, Titian and Van Eyck. Mellon’s
collection is mainly Italian and ranges from the Byzantine to the mid-19th
century; it features such incomparable masterpieces as Jan van Eyck’s <u>Annunciation</u>
and Raphael’s <u><a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.26.html" target="_blank">Alba Madonn</a>a</u> which was loaned to the London NG for a major
Raphael show in 2004.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a></div>
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<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></span></span></span>
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<div class="MsoNormal" style="text-align: justify;">
<u>Samuel H. Kress, Philanthropist. </u></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJktJjWVeDio2q8e_-jtir4JecDttMcBTb_1k6HrTyG-GNCYFPOY_PhaRKg8rM3_mFIENgRhzlp67ypKG4HmZBcrRXFFugeubbaDeisHVJ-LsbIqU3h6L6EYxAgGvL4n9ieUWoK8TxeXN/s1600/103198210_Samuel_Kress.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJktJjWVeDio2q8e_-jtir4JecDttMcBTb_1k6HrTyG-GNCYFPOY_PhaRKg8rM3_mFIENgRhzlp67ypKG4HmZBcrRXFFugeubbaDeisHVJ-LsbIqU3h6L6EYxAgGvL4n9ieUWoK8TxeXN/s640/103198210_Samuel_Kress.jpg" width="532" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Samuel H. Kress, unknown photographer.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIhoNP6GCt6hddyL51_LxejsflV74oScu03XyDeyyLuOgDpPAyt-zF6URFOa1bgeWPVkCP1l_JqyvM529H0hRCu9Tnx0trJjJa1DxY1I_E3QpPLCnnSouxfBjMr5N3q633xG9EWRiR-yB/s1600/shepherd.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIhoNP6GCt6hddyL51_LxejsflV74oScu03XyDeyyLuOgDpPAyt-zF6URFOa1bgeWPVkCP1l_JqyvM529H0hRCu9Tnx0trJjJa1DxY1I_E3QpPLCnnSouxfBjMr5N3q633xG9EWRiR-yB/s640/shepherd.jpg" width="640" /></a></td></tr>
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Between 1927 and 1960, the self-made millionaire <a href="http://en.wikipedia.org/wiki/Samuel_Henry_Kress" target="_blank">Samuel H. Kress </a>built an outstanding collection of Old Masters which became one of the
best in the world. Kress’s five and dime store chain was simply the start of a
massive business empire that gave him the wherewithal to collect art, primarily
Italian in the 1920s when Kress was in his 60s. Unlike other collections like
the Frick and the Gardener Museum, the whole of Samuel Kress’s collection has
never been shown in one place; it is a dispersed collection of over 3,000 works
among many states of territories under the rubric the <a href="http://www.kressfoundation.org/" target="_blank">“Samuel H. Kress Collection.”</a><a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> The
NGA is only one of 90 museums which own works from the collection. A true
philanthropist, Kress wanted to share his art with the public and so during the
Great Depression, a series of paintings from the 14<sup>th</sup> to the 18<sup>th</sup>
centuries travelled across America by train with the aim of fostering a “more
cultured understanding of art.” It is hardly surprising that Kress became one
of the principal benefactors of the NGA because of his public spirited ethos.
Praising the donors in his NGA inaugural speech in 1941, President Roosevelt
stressed that they understood that “great works of art have a way of breaking
out of private ownership into public use.” Kress expressed his regret that
Andrew Mellon had not lived to see his dream realised and he said that he
shared the same ideals, “a National Gallery shared by all the people of our
country [containing] only the finest works of art.” His own collection Kress
said was formed “to provide for the study and enjoyment of the people, as
complete a representation as possible of the Italian School of painting and
sculpture of quality.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
This is the largest collection in the museum, and as the NGA states, the Kress
holdings provide “an encyclopaedic assemblage of Italian paintings dating from
the 14th century to the 18th century.” It is nirvana for scholars of Italian
art, though the Kress collection also includes examples of Spanish, French,
German and Flemish painting. Notable Kress pictures include Giorgione’s <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.432.html" target="_blank"><u>Adoration of the Shepherds</u></a>, Dürer’s <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.41598.html" target="_blank"><u>Madonna and Child</u></a> and too many examples of
renaissance art to mention.</div>
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<br /></div>
<div class="MsoNormal">
<u>Other Patrons. </u></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0jkQhWwhRlUBw1xZlvvfU9Jtaf4NkHldCUTPJ8RWDOpSOHkyXsmswIIzFRASeOcYk99wrhlqYk22d-7RajVl1mDvCf3pDKMFt9aiVn0MwnK5UWlWauhNcmmhnHjUc2heyDZS_21j0af6x/s1600/207feas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0jkQhWwhRlUBw1xZlvvfU9Jtaf4NkHldCUTPJ8RWDOpSOHkyXsmswIIzFRASeOcYk99wrhlqYk22d-7RajVl1mDvCf3pDKMFt9aiVn0MwnK5UWlWauhNcmmhnHjUc2heyDZS_21j0af6x/s640/207feas.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Giovanni Bellini, The Feast of the Gods, about 1518, oil on canvas, 170.2 x 188 cm, Widener Collection,1942.</td></tr>
</tbody></table>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD7Us82SKrfdLQr6Uk3mzhchBfKRh1GKt89x_NUlag4ow992j1wO4-VfS2G0tGAbJqr6mYiIf8haTikdEjSnNREAiy266ImtlLppzRoBR9oPK8AIDmGuKD4u1dx-vZMpTW2px421HSa_5I/s1600/%C3%89douard_Manet_-_Le_Vieux_Musicien.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD7Us82SKrfdLQr6Uk3mzhchBfKRh1GKt89x_NUlag4ow992j1wO4-VfS2G0tGAbJqr6mYiIf8haTikdEjSnNREAiy266ImtlLppzRoBR9oPK8AIDmGuKD4u1dx-vZMpTW2px421HSa_5I/s640/%C3%89douard_Manet_-_Le_Vieux_Musicien.jpg" width="640" /></a></td></tr>
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<div class="MsoNormal">
Apart from Mellon’s and Kress paintings, the old master collection
was reinforced by the addition of about 244 works owned by the Wideners,
especially <a href="http://research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=6877" target="_blank">Joseph </a>who had started buying old masters in the late
nineteenth-century.<span style="mso-spacerun: yes;"> </span>Their taste was
Italian high renaissance, 17th century Dutch and Flemish and 18th and 19th
century British art, e.g. Constable’s pastoral <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.1147.html" target="_blank"><u>Wivenhoe Park</u></a>. Amongst
the gems of the Widener collection are Bellini’s <a href="http://www.google.com/culturalinstitute/asset-viewer/the-feast-of-the-gods/ywHcWNzYJW7wUA?hl=en" target="_blank"><u>Feast of the Gods</u></a>, Vermeer’s
<a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.1236.html" target="_blank"><u>Woman with a Balance</u></a>. Another significant collector was the banker <a href="http://research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=6584" target="_blank">ChesterDale</a> (renaissance, Impressionism, Post-Impressionism, Sch of Paris). Highlights
in the Dale Collection include Manet’s <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.46637.html" target="_blank"><u>Old Musician</u> </a>and Picasso’s <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.46665.html" target="_blank"><u>Familyof Saltimbanques</u></a>, which combined with Watteau’s <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.32687.html" target="_blank"><u>Italian Comedians</u></a>
from the Kress Collection have a common theme- groups on the margins of society.
There are many other patrons and donors, such as Mellon’s children, <a href="http://research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=7050" target="_blank">Lessing J.Rosenwald</a> a businessman, and <a href="http://research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=7225" target="_blank">Edgar Garbisch </a>the football player who gave American
art to the museum. Worth a look amongst the American holdings are Whistler’s
ethereal <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.12198.html" target="_blank"><u>Symphony in White</u> </a>and Rembrandt Peale’s meticulously observed <a href="http://www.nga.gov/content/ngaweb/Collection/art-object-page.66250.html" target="_blank"><u>Portraitof Rubens Peale with a Geranium</u></a>, described by Robert Hughes as the “most
genuinely neoclassical painting produced by any of the Peales.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a></div>
<div class="MsoNormal">
<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></span></span></span>
</div>
<div class="MsoNormal">
<u>The East Building. </u></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5boDooAfquinBrUGFFVov77bSQsv_WWFxRarnsSGUm2JC0-BBDuKdqzxr3i11_Y8xeOpyWxLdTywI6OPOA1_CjZjJORqOlXxlf7WEIUHhgBNdNkLX-l0Xwt0DjoQlrTdH3gZug1f1axvx/s1600/National_Gallery_of_Art_DC_2007_045.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5boDooAfquinBrUGFFVov77bSQsv_WWFxRarnsSGUm2JC0-BBDuKdqzxr3i11_Y8xeOpyWxLdTywI6OPOA1_CjZjJORqOlXxlf7WEIUHhgBNdNkLX-l0Xwt0DjoQlrTdH3gZug1f1axvx/s640/National_Gallery_of_Art_DC_2007_045.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The East Building, NGA</td></tr>
</tbody></table>
<div class="MsoNormal">
These days even the most venerated museum may contain
examples of modern art, and the Washington NGA is no exception to this rule. This
rule is reflected in architecture since buildings housing modern art must
conform to non-classical standards and convey a modernist aesthetic. Fittingly,
the architect of the East Building is <a href="http://www.bc.edu/bc_org/avp/cas/fnart/fa267/pei.html" target="_blank">I.E. Pei</a> who whilst at MIT rejected
the Beaux Arts style in favour of the modernism of Le Corbusier and the
Bauhaus. Pei famously was the first foreign architect to re-design the Louvre
installing a famous glass and steel pyramid at its entrance. For the East
Building Pei also thought in terms of geometry; it is a trapezoid divided into
an isosceles triangle and a smaller triangle. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFTcQ69Xr8XWBb60qWKC0ycEVA8MA8Z8uK554RnwZeWjrK-2hX2hsEvhpormEvJ5hEtdZ5i0z5E6-8AIWQpPLuzuOdu5wmndu_3LaF_WJUjXJvrTBKnB7DMcZ4glfHqLsXDfKsCidjaf-/s1600/Eastnationalgallerydc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFTcQ69Xr8XWBb60qWKC0ycEVA8MA8Z8uK554RnwZeWjrK-2hX2hsEvhpormEvJ5hEtdZ5i0z5E6-8AIWQpPLuzuOdu5wmndu_3LaF_WJUjXJvrTBKnB7DMcZ4glfHqLsXDfKsCidjaf-/s640/Eastnationalgallerydc.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barnett Newman's Stations of the Cross, East Building, NGA</td></tr>
</tbody></table>
<div class="MsoNormal">
In 2011, an $85 m renovation took
place due to structural damage detected in 2005; more funding for renovation
has been earmarked for 2013. The East configuration is home to modern and
contemporary art. Artists include Picasso, Matisse, Pollock, Warhol,
Liechtenstein, Calder and amongst others a 1977 mural by Robert Motherwell. Barnett
Newman’s 14 <u>Stations of the Cross</u> should also be mentioned. View this clip of Robert Hughes on abstract art, with a curt dismissal of Newman's religious pretensions, (<a href="http://www.youtube.com/watch?v=ZI-BjmNoxdk" target="_blank">link</a>, about 2 mins in). </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The East
Building is also a huge administrative hub comprising the offices of the
gallery, <a href="http://www.nga.gov/content/ngaweb/research/casva.html" target="_blank">CASVA </a>(Centre for Advanced Study in the Visual Arts). After the Getty
Research Institute, the NGA is one of the most important visual arts research
centres in the U.S.A. which started with the Mellon Lecture program attracting leading
art historians Like Anthony Blunt, Kenneth Clark, E.H. Gombrich, H. W.Janson
and Arthur Danto. A volume, <a href="http://yalepress.yale.edu/yupbooks/book.asp?isbn=9780300099614" target="_blank">The A.W. Mellon Lectures in the Fine Arts: FiftyYears </a>was published in 2002.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Slides.</u></div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>West Building, National Gallery of Art,
Washington. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Satellite View of NGA. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of West Building from National Mall.<span style="mso-spacerun: yes;"> </span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Photograph of Andrew W. Melon. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of an Exhibition in the West Building. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Duccio,<span style="mso-spacerun: yes;">
</span>The Nativity with the Prophets Isaiah and Ezekiel, 1308/1311, tempera on
single panel, 48 x 87 cm,<span style="mso-spacerun: yes;"> </span>Andrew W.
Mellon Collection, 1937.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jan van Eyck, The Annunciation, oil on canvas
transferred from panel, 90.2 x 34.1 cm, <span style="mso-spacerun: yes;"> </span>Andrew W. Mellon Collection, 1937.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Detail: symbolism of Van Eyck on floor.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Leonardo da Vinci, Ginevra da Benci, 1474, oil
on panel, 38.1 x 37 cm, Ailsa Mellon Bruce Fund, 1967<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Giorgione, Adoration of the Shepherds, 1505-10, oil
on panel, 90.8 x 110.5 cm, <span style="mso-spacerun: yes;"> </span>Samuel H.
Kress Collection, 1939 <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Giovanni Bellini, Feast of the Gods, oil on
canvas, 170.2 x 188 cm, Widener Collection,<span style="mso-spacerun: yes;">
</span>1942.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Photo of Samuel H. Kress. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Albrecht Dὕrer, Madonna and Child, 1496-99, oil
on panel, 52.4 x 42.2 cm, Samuel H. Kress Collection,<span style="mso-spacerun: yes;"> </span>1952.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Raphael, Alba Madonna, oil on panel transferred
to canvas, 94.5 cm, <span style="mso-spacerun: yes;"> </span>Andrew W. Mellon
Collection, 1937.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Raphael, The Garvagh Madonna, National Gallery,
London, about 1509-10, oil on wood, 38.9 x 32.9 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Titian, Venus with a Mirror, c. 1555,<span style="mso-spacerun: yes;"> </span>oil on canvas, 124.5 x 105.5 cm, Andrew W.
Mellon Collection, 1937.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Giovanni Battista Moroni, “Titian’s Schoolmaster”,
c. 1575, oil on canvas, 96.8 x 74.3 cm, Widener Coll, 1942.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Nicolas Poussin, Assumption of the Virgin, oil
on canvas, 134.4 x 98.1 cm, Ailsa Mellon Bruce Fund, 1963.<br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Georges
de La Tour, The Repentant Magdalene, 1635-40, o il on canvas, 113 x 92.7
cm,<span style="mso-spacerun: yes;"> </span>Ailsa Mellon Bruce Fund, 1974.</span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Il Guercino, Self-Portrait before a Painting of
"Amor Fedele", 1655, oil on canvas, 116 x 95.6 cm, Patrons' Permanent
Fund, 2005.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, The Mill, 1645-46, oil on canvas,
87.6 x 105.6 cm, Widener Collection, 1942).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Vermeer, Woman with a Balance, oil on canvas, 39.7
x 35.5 cm, Widener Collection, 1942.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Antoine Watteau, The Italian Comedians, probably
1720, oil on canvas, 63.8 x 76.2 cm, Samuel H. Kress Collection, 1946.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Manet, The Old Musician, 1862, Oil on canvas,
186 x 247 cm, 1862, oil on canvas, 187.4 x 248.2 cm, Chester Dale Collection,
1963.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Picasso, Family of Saltimbanques, 1905, oil on
canvas, 212.8 x 229.6 cm, Chester Dale Collection, 963.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Henri Matisse, Open Window, Collioure, 1905, oil
on canvas, 55.3 x 46 cm, Collection of Mr. and Mrs. John Hay Whitney, 1998.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt Peale, Rubens Peale with a Geranium,
1801, oil on canvas, 71.4 x 61 cm, (Patrons Permanent Fund, 1985). <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Whistler, Symphony in White: No. 1 (The White
Girl), oil on canvas, 213 x 107.9 cm, Harris Whittemore Collection, 1943.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">29)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Mary Cassatt, the Boating Party, 1893-1894, oil
on canvas, 90 x 117.3 cm, Chester Dale Collection, 1963.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">30)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Augustus John, Joseph Widener, 1921, oil on
canvas, 124.7 x 102.3 cm, Widener Collection,<span style="mso-spacerun: yes;">
</span>1942.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">31)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John Constable, Wivenhoe Park, Essex, 1816, oil
on canvas, 56.1 x 101.2 cm, Widener Collection, 1942.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">32)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Exterior of East Building.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">33)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Same showing geometric design. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">34)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Interior of East Building showing Barnett Newman’s
Stations of the Cross, 1965-1966, acrylic on canvas, 198.2 x 152.5 cm,
Collection of Robert and Jane Meyerhoff, 1986.
<br />
<div style="mso-element: footnote-list;">
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<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Robert Hughes, <u>American Visions</u>, 112.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a> <u>Raphael:
From Urbino to Rome</u>, LNG, Chapman, Henry and Plazzotta, exh. cat, 2004, no.
93.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
See Marilyn Perry, “Five and Dime for Millions: The Samuel H. Kress Collection”
in <u>The Samuel H. Kress Study Collection at the University of Missouri</u>, ed.
Norman E. Land, (Uni of Missouri Press, 1999), 3-12. Kress gave Missouri 14
paintings as a study collection including a Rembrandt. <a href="http://books.google.co.uk/books?id=6vh8kwpZmwoC&printsec=frontcover&dq=samuel+kress+missouri&hl=en&sa=X&ei=zvh8UpK8B8u7hAeLyoGQCw&ved=0CDEQ6AEwAA#v=onepage&q=samuel%20kress%20missouri&f=false" target="_blank">Link</a></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
All quotations from Perry, 8.</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
Hughes, <u>American Visions</u>, 106.</div>
</div>
</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7794919694945333232.post-82099485157629402782013-11-01T09:57:00.001-07:002013-11-01T10:32:21.307-07:00Chicago Art Institute<!--[if gte mso 9]><xml>
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<u>Origins of the Chicago Art Institute. </u></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNsnnNheuBidRMb50HbfWYl5kcuu0O0hQ3CQihb7plrpfIRtZEWS3kEsfXwisFCWRDZmBzZgdCF6IldcHmDEcU8BBO9uE5-R5ljz2n9Yi5KJZdO6JMeLfD6kbuRWlcsAnmAKrJ_J9yd38P/s1600/Interrior_view,_Art_Institute_of_Chicago.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNsnnNheuBidRMb50HbfWYl5kcuu0O0hQ3CQihb7plrpfIRtZEWS3kEsfXwisFCWRDZmBzZgdCF6IldcHmDEcU8BBO9uE5-R5ljz2n9Yi5KJZdO6JMeLfD6kbuRWlcsAnmAKrJ_J9yd38P/s640/Interrior_view,_Art_Institute_of_Chicago.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Same, Interior</td></tr>
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The origins of the Chicago Art Institute go back to 1866
when it was a free art school and gallery on South Michigan Avenue. From this
acorn, a mighty institutional oak grew, now the second largest museum after the
Metropolitan in New York. In 1882 the Chicago Academy of Fine Arts changed its
named to the Art Institute of Chicago, but the history of the museum is
invariably tied in with the <a href="http://en.wikipedia.org/wiki/World%27s_Columbian_Exposition">World
Columbian Exhibition</a>, the Chicago World Fair held between 1892 and 1893
which brought the arts and commerce together as an urban spectacle. The
Exposition marked the four hundredth anniversary of Columbus’s landing in the
Caribbean, which at that time was not viewed with suspicion and hostility. Many
artists contributed to this “American Renaissance” which based itself on the
French <a href="http://www.bc.edu/bc_org/avp/cas/fnart/fa267/beauxarts.html">Beaux-Arts
style</a>.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
The current building is a classical Beaux-Arts building, by Shepley, Rutan and
Coolidge of Boston, Massachusetts. The Fullerton Auditorium and Ryerson Library
were added to the building in 1898 and 1901 respectively. <a href="http://www.artic.edu/aic/collections/artwork-search/results/Ryerson">Ryerson</a>
is a very important name to the museum because, along with his wife, he owned a
large collection of art that was eventually given to the museum. <a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
The building is composed of 273 galleries that total 562,000 square feet
(52,200 m2). The building has a grand Italian Renaissance facade with a
pedimented 5-bayed central section that protrudes forward from the 7-bayed
wings on either side. The arcaded entry loggia is topped by three grand Palladian
arches that are separated by Corinthian half-columns.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
The <a href="http://www.artic.edu/aic/collections/">collections</a> at Chicago
number a staggering 260, 000 works of art ranging from Japanese prints to
American modern art. The museum is most famous for its Impressionist and
Post-Impressionist collection which includes such masterpieces as Seurat’s <u>Grande
Jatte</u> and Caillebotte’s <u>Rainy Day</u>, <u>Paris</u>. Important American
works include Mary Cassatt’s <u>The Child’s Bath</u>, Grant Wood’s <u>American
Gothic</u> and Edward Hopper’s <u>Nighthawks</u>. </div>
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<u>The James N. Wood Era. </u></div>
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<br /></div>
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Until his retirement from the museum in 2004, <a href="http://www.dictionaryofarthistorians.org/woodj.htm">James N. Wood</a> was
the quiet dynamo behind the development of the Chicago Institute of Fine Arts.
A Bostonian, Woods worked at leading museums like the Met and St Louis before
coming to Chicago in 1980 where he stayed director for 25 years. During Wood’s tenure
at Chicago, major expansion of the galleries was carried out, as well as the
staging of a slew of high profile exhibitions by leading artists like Monet
(1995) and Gauguin and Van Gogh (2001) which broke attendance records for the
Institute. Woods came out of retirement in 2006 to become head of the J.P.
Getty Trust and four years later died of natural causes.</div>
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<u>Old Masters. </u></div>
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Where the old masters are concerned, it is almost the same
situation as Cleveland: a weak renaissance collection and strong holdings in the
baroque and 17<sup>th</sup> century period, - lots of <a href="http://www.artic.edu/aic/collections/artists/unattributed" target="_blank">unattributed </a>and workshop
pieces. There is an emerging pattern here. The patchy renaissance collection
may be explained by the fact that the inland museums were established later
than the East Coast institutions and the latter had already cherry picked the
best renaissance art, though taste was almost certainly a factor here too.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
It may also indicate curatorial resources distributed towards collection strengths, as driven by audience expectation. From the existing
renaissance holdings one could choose fine panels by famous artists like <span style="mso-spacerun: yes;"> </span><a href="http://www.artic.edu/aic/collections/artwork/16295?search_no=492&index=1">Memling</a>
and obscure ones like the <a href="http://www.artic.edu/aic/collections/artwork/artist/Hey%2C+Jean%2C+%28the+Master+of+Moulins%29">Master
of Moulins</a> (Jean Heys) with some intriguing Italian “primitives” such as
Bartolommeo di Giovanni’s <a href="http://www.artic.edu/aic/collections/artwork/25740?search_no=495&index=0">Scenes
from the Life of John the Baptist</a><u> </u>and from later, a Correggio<u> </u><a href="http://www.artic.edu/aic/collections/artwork/23972?search_no=496&index=8">Madonna</a><u>
</u>and Tintoretto’s fine <a href="http://www.artic.edu/aic/collections/artwork/64920?search_no=498&index=6">Tarquin
and Lucretia</a>. <span style="mso-spacerun: yes;"> </span>With the baroque, there
is much more to admire. There is a good Flemish contingent: Rubens (<a href="http://www.artic.edu/aic/collections/artwork/27310?search_no=499&index=7">Holy
Family and Saints</a>) and works by his followers, Jordaens and Synders. The
French school is strong with Claude (<a href="http://www.artic.edu/aic/collections/artwork/43145?search_no=500&index=3">View
of Delphi</a>), Poussin (<a href="http://www.artic.edu/aic/collections/artwork/5848?search_no=502&index=0">Landscape
with St John on Patmos</a>), Chardin (<a href="http://www.artic.edu/aic/collections/artwork/102131?search_no=504&index=2">Self-Portrait</a>)
and even minor artists like <a href="http://www.artic.edu/aic/collections/artwork/16494?search_no=505&index=0">Blanchard</a>
and <a href="http://www.artic.edu/aic/collections/artwork/58052?search_no=506&index=0">Bertin</a>.
The Spanish contingent is robust too: <a href="http://www.artic.edu/aic/collections/artwork-search/results/all/%28artist_name%3A%22El+Greco%22~100+OR+place_of_origin%3A%22El+Greco%22~100%29">four
El Grecos</a> including his <u>Assumption of the Virgin</u>, Zurbaran’s <a href="http://www.artic.edu/aic/collections/artwork/80084?search_no=509&index=1">Christ
on the Cross,</a> (recently shown in the <a href="http://www.nationalgallery.org.uk/whats-on/exhibitions/the-sacred-made-real">Sacred
Made Real</a> exhibition in London), Cotán’s <a href="http://www.artic.edu/aic/collections/artwork/84709?search_no=516&index=0">Still-life</a>
and the impressive <a href="http://www.artic.edu/aic/collections/artwork/111428?search_no=517&index=0">Heraclitus</a>
painted by an unnamed artist in 1630. Mention should also be made of the Dane
Eckersberg’s <a href="http://www.artic.edu/aic/collections/artwork/64979?search_no=518&index=1">view
of San Lorenzo</a>, a cross between Fra Angelico and <a href="http://en.wikipedia.org/wiki/Pieter_Jansz._Saenredam">Saerendam</a>.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Impressionism and Post-Impressionism.</u></div>
<div class="MsoNormal">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUeau5m-GfiVunDDS05gpmz0LJ3Q6g9XWo2DFVc_8W1mDi8e3b2kdoJ4SI1MwWPylzx6LhwqiMY5N-Kh83Ko3ZGFj9mSX-NPcSYhpwdi7NvTshV01hbdwjJuinJ8dWEFoCF7swaPZOTl8/s1600/jatte.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUeau5m-GfiVunDDS05gpmz0LJ3Q6g9XWo2DFVc_8W1mDi8e3b2kdoJ4SI1MwWPylzx6LhwqiMY5N-Kh83Ko3ZGFj9mSX-NPcSYhpwdi7NvTshV01hbdwjJuinJ8dWEFoCF7swaPZOTl8/s640/jatte.jpg" width="640" /></a></td></tr>
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Ask anybody what art they associate with the Chicago Art
Institute and you are likely to hear Impressionism. The museum‘s collection of Impressionist
art is world famous, due in no small part to landmark exhibitions put on during
Wood’s directorship. Nearly 50 works by <a href="http://www.artic.edu/aic/collections/artwork/artist/Monet%2C+Claude">Monet</a>
are owned including the <u>Haystacks</u> series. However, <a href="http://www.artic.edu/aic/collections/artwork/artist/Manet%2C+Edouard">Manet</a>
easily trumps Monet with about 100 paintings, drawings and prints, but perhaps
the most famous impressionist work at Chicago is Seurat’s monumental <a href="http://www.artic.edu/aic/collections/artwork/27992?search_no=521&index=7">An
Afternoon at Grande Jatte</a>, which places modern life on the scale and vision
of a classical, or even Egyptian frieze. If there is one image that a European
public associate with the museum, it is probably Seurat’s masterpiece which has
only been loaned once to MOMA in New York when unfortunately there was a fire! An
equally impressive Impressionist masterpiece in the museum is Gustave
Caillebotte’s <a href="http://www.artic.edu/aic/collections/artwork/20684?search_no=522&index=3">Rainy
Day, Paris</a> which can be read as a scientifically determined composition or
an exercise in painterly execution, especially the slicked cobblestones in the
foreground. The museum also owns Caillebotte’s <a href="http://www.artic.edu/aic/collections/artwork/210484?search_no=523&index=4">study</a>
of the street, which without the figures, emphasises the mathematical origins
of the composition even more.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<u>Modern European Art. </u></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaEYpCDa_67ZVhGAeDKl_qIiSL1bRgb7xVjHLFQTdcK2EoRDQ0IPZOYiPCw-XP28qVXBdFpnYKfeWppp8MCAkKVVWcjCKssTfGtXDsPXPq1OCvuvsvx5nPx2H7iS-bdXX4tsBkPf1MCZir/s1600/184368_3003122.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaEYpCDa_67ZVhGAeDKl_qIiSL1bRgb7xVjHLFQTdcK2EoRDQ0IPZOYiPCw-XP28qVXBdFpnYKfeWppp8MCAkKVVWcjCKssTfGtXDsPXPq1OCvuvsvx5nPx2H7iS-bdXX4tsBkPf1MCZir/s640/184368_3003122.jpg" width="640" /></a></td></tr>
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142.9 x 172.7 cm, Restricted gift of Maymar Corporation, Mrs. Maurice L.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1UHPu8BJLj6t8tKAza2OUbbEK3jM9gd-S4wTQE2Uu35LIxWBorZynC-cYU3F2myr9Z57antpOnX5uKhWGzRZN_Xg3UNC1aeLEqOvDaB0HtYA1jD9a3ZTo1je6nP6-mqTILJcd7sj9_CnL/s1600/159203_2792802.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1UHPu8BJLj6t8tKAza2OUbbEK3jM9gd-S4wTQE2Uu35LIxWBorZynC-cYU3F2myr9Z57antpOnX5uKhWGzRZN_Xg3UNC1aeLEqOvDaB0HtYA1jD9a3ZTo1je6nP6-mqTILJcd7sj9_CnL/s640/159203_2792802.jpg" width="640" /></a></td></tr>
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The museum’s collection of European modern art is excellent,
particularly the early 20<sup>th</sup> century. The most important are the
museum’s holdings of drawings, paintings and sculpture by <a href="http://www.artic.edu/aic/collections/artwork/artist/Picasso%2C+Pablo">Picasso</a>
and <a href="http://www.artic.edu/aic/collections/artwork/artist/Matisse%2C+Henri">Matisse</a>.
A very important Matisse is his <a href="http://www.artic.edu/aic/collections/artwork/79307?search_no=526&index=0">Bathers
by a River</a> (1909-10) which Matisse considered to be “one of the five most
pivotal works” of his career.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span><u>Bathers</u> plays abstraction off against
the figurative with interesting results. Out of several Picasso works, one
could choose <a href="http://www.artic.edu/aic/collections/artwork/109275?search_no=527&index=2">Mother
and Child </a><u><span style="mso-spacerun: yes;"> </span>(1921) </u>whose
monumental classicism was the result of Picasso’s study of renaissance and
classical art in Rome in 1917. The oddly proportioned women of Picasso’s
“classical” period came from blending Ingres’s Odalisques and Renoir’s late Bathers.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
Picasso’s Parisian friend Mondigliani’s <a href="http://www.artic.edu/aic/collections/artwork/27281?search_no=530&index=10">Madame
Pompadour</a> synthesises Cézanne, Cubism and African sculpture to provide
something of a visual summary of modern art’s influences at the time.<span style="mso-spacerun: yes;"> </span>Other modern European artists featured in the
museum include Juan Gris, Georges Braque, Roual Dufy, Joan Miro, Man Ray and Balthus.
<span style="mso-spacerun: yes;"> </span></div>
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<u>American Art. </u></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDicE1T-jbmA27MlzLJ_CcTI5d4MtnaKEFLcETX6vq31Dco8t1sJpaFdQ8q7AsLDZClZPjQlxCKfCN3cVzJ3mbpVNXzKxEVysAbnYcnNETZq7wy46KnflG-agx9f7VWLL1H6vml0058aG7/s1600/57577_1871929.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDicE1T-jbmA27MlzLJ_CcTI5d4MtnaKEFLcETX6vq31Dco8t1sJpaFdQ8q7AsLDZClZPjQlxCKfCN3cVzJ3mbpVNXzKxEVysAbnYcnNETZq7wy46KnflG-agx9f7VWLL1H6vml0058aG7/s640/57577_1871929.jpg" width="418" /></a></td></tr>
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In addition to its remarkable Impressionist collection, the
Chicago Art Institute boasts a celebrated collection of <a href="http://www.artic.edu/aic/collections/artwork/category/41">American art</a>.
More traditional American artists are represented by such as Raphaelle Peale (his
painter father named some of his children after famous artists) whose <a href="http://www.artic.edu/aic/collections/artwork/120154?search_no=531&index=0">Still
Life with Strawberries</a> may either pay tribute to Chardin or 17<sup>th</sup>
century Dutch still life. The American artist Mary Cassatt and friend of Degas
is represented by such paintings as <a href="http://www.artic.edu/aic/collections/artwork/111442?search_no=536&index=28">The
Child’s Bath</a>, which betrays knowledge of Japanese art, photography as well as
the realism of the Impressionists. Though Cassatt spent most of her life
outside America, the museum is right to put her in the American art section. As
Hughes states, Cassatt’s work had more impact in America than in France; and more
importantly she moved taste away from the Old Masters towards Impressionism, a
shift detectable in the collections of this museum.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a></div>
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The museum owns two of the most famous American works which
have become icons of American identity and experience. Edward Hopper’s <a href="http://www.artic.edu/aic/collections/artwork/111628?search_no=539&index=27">Nighthawks</a>
described by Robert Hughes as “a sort of geometrical aquarium with four fish
swimming in it” is one of the most famous images in 20<sup>th</sup> century
American art. The son of a dry- goods merchant, Hopper pioneered a singular
style of observational art which captures the loneliness and alienation of
American life. His art presents the silences of life within meticulously
formalized structures which owe nothing to Cubism. When he studied in Paris
between 1906-7, he drank in Manet’s art, and something of the emptiness of
modern life derives from him, though Hopper strictly made the vision of houses,
theatres and solitude, which has permeated American pop culture from film noir
to Hitchcock’s <u>Pyscho</u>, his own. <span style="mso-spacerun: yes;"> </span><u>Nighthawks</u>
<span style="mso-spacerun: yes;"> </span>was sold to Chicago for $3,000, and has
remained there ever since.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span></span></span></a>
Another iconic work of art is Grant Wood’s <a href="http://www.artic.edu/aic/collections/artwork/6565?search_no=540&index=9">American
Gothic</a>, a portrait of an old school Iowa couple standing in front of a
building in Eldon, the most famous house in America after the White House. Born
and bred in Iowa, Grant studied at the Art Institute of Chicago before teaching
art and studying it on the 20<sup>th</sup> century equivalent of the Grand Tour
in Europe. The stark realism of Grant’s paintings owe something to renaissance
Flemish portraits, and it is tempting to see <u>American Gothic </u>as a kind
of regional, down home version of the <a href="http://www.nationalgallery.org.uk/paintings/jan-van-eyck-the-arnolfini-portrait">Arnolfini
Portrait</a>, executed by an artist who had ambitions to be the “Jan van Eyck
of Iowa!”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span></span></span></a> Amongst
many other American artists, mention should be made of <a href="http://www.independent.co.uk/arts-entertainment/art/features/philip-guston-the-hand-that-rocked-the-art-establishment-8061276.html">Philip
Guston</a> who is represented in the museum by a group of paintings and graphic
works, such as <a href="http://www.artic.edu/aic/collections/artwork/118569?search_no=543&index=5">Bad
Times</a> (1970) which shows his menacing and amusing Klansmen figures. There
is another Iowa connection here as Guston studied there with the famous art
historian <a href="http://www.dictionaryofarthistorians.org/jansonh.htm">Horst
Janson</a>.<span style="mso-spacerun: yes;"> </span>Janson provoked the anger of
Grant Wood by taking his students to see the Picasso show put on in Chicago in
1941.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Slides</u>.<span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of Art Institute of Chicago.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Interior View.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Bartolommeo di Giovanni, Scenes from the Life of
Saint John the Baptist, 1490/95, Tempera on panel (poplar), 74 x 150.4 cm, Mr.
and Mrs. Martin A. Ryerson Collection, 1937.996.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Hans Memling, Virgin and Child, 1485/90, Oil on
panel, 34.5 x 26.8 cm, Mr. and Mrs. Martin A. Ryerson Collection, 1933.1050.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jean Heys (Master of Moulins), The Annunciation,
1490/95, Oil on panel, 71.7 x 49.2 cm, <br />
The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection,
1933.1062.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Tintoretto, Tarquin and Lucretia, c. 1578/80,
Oil on canvas, 175 x 151.5 cm, Art Institute Purchase Fund, 1949.203<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>El Greco, The Assumption of the Virgin, Oil on
canvas, 403.2 x 211.8 cm, Inscribed on paper at lower right in Greek:
(Domenikos Theotokopoulos, Cretan, displayed this in 1577), <br />
Gift of Nancy Atwood Sprague in memory of Albert Arnold Sprague, 1906.99.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Juan Sánchez Cotán, Still Life with Game Fowl,
1600/03, Oil on canvas, 67.8 x 88.7 cm, Gift of Mr. and Mrs. Leigh B. Block,
1955.1203.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Unidentified Spanish artist, Heraclitus,
Heraclitus, the Weeping Philosopher, c. 1630, Oil on canvas, Gift in memory of
Samuel Gans from his heirs, 1897.296<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Francisco de Zurbaran, The Crucifixion, 1627,
Oil on canvas, 290.3 x 165.5 cm, Robert A. Waller Memorial Fund, 1954.15.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Peter Paul Rubens, The Holy Family with Saints
Elizabeth and John the Baptist, c. 1615, Oil on panel, 114.5 x 91.5 cm, Major
Acquisitions Fund, 1967.229.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Claude Lorrain, View of Delphi with a
Procession, 1673, Oil on canvas, 101.6 x 127 cm, Robert A. Waller Memorial
Fund, 1941.1020<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Christoffer Wilhelm Eckersberg, The Cloisters, San
Lorenzo, 1824, Oil on canvas, 57.7 x 78.8 cm, European Painting Purchase fund;
through prior gift of Mr. and Mrs. Martin A. Ryerson Collection, 1986.991<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Édouard Manet, Salmon (Still Life), 1864, oil on
canvas, 73.4 x 92.1 cm, Mr. and Mrs. Lewis Larned Coburn Memorial Collection,
1942.311.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Claude Monet, Stacks of Wheat (Sunset, Snow
Effect), 1890/91, oil on canvas, 65.3 x 100.4 cm, Potter Palmer Collection,
1922.431.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Georges Seurat, A Sunday on La Grande Jatte, Oil
on canvas, 207.5 x 308.1 cm, Helen Birch Bartlett Memorial Collection, 1926.224,
de Hauke 162.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gustave Caillebotte, Paris Street; Rainy Day,
1877, Oil on canvas, 212.2 x 276.2 cm, Charles H. and Mary F. S. Worcester
Collection, 1964.336.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gustave Caillebotte, Study for Paris Street;
Rainy Day, 1877, Graphite, with touches of erasing and charcoal, on tan laid
paper, 302 x 465 mm, Margaret Day Blake Fund; Restricted gift of Mr. and Mrs.
William R. Jentes, 2011.420. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Vincent Van Gogh, The Bedroom, 1889, Oil on
canvas, 73.6 x 92.3 cm, Helen Birch Bartlett Memorial Collection, 1926.417.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Pierre Auguste Renoir, Two Sisters (On the
Terrace), 1881, Oil on canvas, 100.5 x 81 cm, Mr. and Mrs. Lewis Larned Coburn
Memorial Collection, 1933.455.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Opening of Modern Wing, 2009, Chicago Art
Institute. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Picasso, Mother and Child, 1921, Oil on canvas,
142.9 x 172.7 cm, Restricted gift of Maymar Corporation, Mrs. Maurice L.
Rothschild, and Mr. and Mrs. Chauncey McCormick; Mary and Leigh Block Fund; Ada
Turnbull Hertle Endowment; through prior gift of Mr. and Mrs. Edwin E. Hokin,
1954.270<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Henri Matisse, Bathers by a River, Oil on
canvas, (260 x 392 cm, Charles H. and Mary F. S. Worcester Collection,
1953.158.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Amedeo Modigliani, Madam Pompadour, 1915, Oil on
canvas, 61.1 x 50.2 cm, Joseph Winterbotham Collection, 1938.217.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Raphaelle Peal, Still Life with Strawberries,
Oil on wood panel, 41.1 x 57.8 cm, Gift of Jamee J. and Marshall Field,
1991.100.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Mary Cassatt, The Child's Bath, 1893, Oil on
canvas, 100.3 x 66.1 cm, Robert A. Waller Fund, 1910.2. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Edgar Degas, Mary Cassatt at the Louvre: The
Paintings Gallery, 1879–80, Etching, aquatint, and drypoint on cream wove paper,
320 x 249 mm, Gift of Ethel Schmidt, 1982.1568<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Grant Wood, American Gothic, Oil on Beaver
Board, 78 x 65.3 cm, Friends of American Art Collection, 1930.934.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">29)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Edward Hopper, Nighthawks, Oil on canvas, 84.1 x
152.4 cm, Friends of American Art Collection, 1942.51.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">30)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Philip Guston, <span style="mso-spacerun: yes;"> </span>Bad Times, 1970, Oil on canvas, 82.9 x 289.6
cm, Estate of Musa Guston, 1992.733.
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a> On
the “American Renaissance” see Robert Hughes, <u>American Visions</u>, 207f.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
For a flavour of the Ryerson collection, see Ella S. Siple, “Art in America:
The Ryerson Collection”, <i style="mso-bidi-font-style: normal;">Burlington
Magazine</i>, Vol. 51, No. 296, (Nov. 1927), 240-245.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
These architectural notes come from Wikipedia.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
The same could be said of the collection of renaissance drawings which are
mainly workshop, “circle”, “after” <span style="mso-spacerun: yes;"> </span>or
associated with famous painters, e.g <a href="http://www.artic.edu/aic/collections/artwork/category/13?page=1&filters=object_type_s%3A%22Drawing+and+Watercolor%22+has_image%3Atrue+artist_name_s%3ARaphael">Raphael</a>.
</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
For an instructive discussion of this and its pendant Pont l’Europe, see <u>Gustave
Caillebotte: The Unknown Impressionist</u>, exh cat, London, R.A., 1996, 84f.</div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a> <u>Essential
Guide</u>, 2013, 250.</div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a> <span style="font-family: Times,"Times New Roman",serif;"><u>Essential Guide,</u> 2013, p.264.</span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a>
Hughes, <u>American Visions</u>, 256. </div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span></span></span></a>
Hughes, <u>American Visions</u>, 422f.</div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span></span></span></a> Hughes,
<u>American Visions</u>, 440.</div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7794919694945333232.post-31989367872018075132013-10-25T05:08:00.003-07:002013-10-25T05:12:04.629-07:00Cleveland Museum of Art.<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<u>Taking Stock: the Modern Museum in America.</u></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuIvl0KM68I33zwNOj5gd10FLU3oUQVwzGv5JfBWm1YvPP8U33CDKe3KKuW3EPX0fwH7kddCdFSj9FnNcN2j-_sK067Gyu1nwU85CMLhJlpafaeL2_lgGX1h5JrSg5x2PxLAAFQ7Y3HW_r/s1600/Cleveland_Museum_of_Art_South_View.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuIvl0KM68I33zwNOj5gd10FLU3oUQVwzGv5JfBWm1YvPP8U33CDKe3KKuW3EPX0fwH7kddCdFSj9FnNcN2j-_sK067Gyu1nwU85CMLhJlpafaeL2_lgGX1h5JrSg5x2PxLAAFQ7Y3HW_r/s640/Cleveland_Museum_of_Art_South_View.JPG" width="640" /></a></div>
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At this halfway point it is worth reflecting on a central
problem that besets the museum in America today. How the democratic ethos in the
U.S.A., the notion of “egalitarian democracy,” is squared with the fact that most
of these art treasures are in the museum due to choices made by very wealthy
individuals of the Old World upper-class who lived a life of aesthetic luxury,
completely alien to those who worked as democratic citizens in the new America.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Despite the nature of the democratic political system and the museum’s mission
to make art accessible to all, these institutions preserve elite values, or
objects that have clear associations with an elite culture. The task of any
museum director is to widen access to the public whilist teaching them how to
look at and appreciate very expensive art, but this involves the difficult task of reconciling democratic art education with the elitist
origins of these works. There is also the problem of teaching the public how to
look at art which involves attempts to popularize discernment in looking, i.e. connoisseurship
through the museum and technology. It is obviously harder to avoid intimations
of connoisseurship in spaces like the Isabella Stewart Gardner Museum and the
Frick Collection, where under populated galleries inspire almost private contemplation
of the work of art in highly elegant surroundings once inhabited by the likes
of Berenson and co. As Phillipe de Montebello observes, the Frick is “a
relatively small space with a disproportionate amount of consummate
masterpieces.”<span class="MsoFootnoteReference"> <a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></a></span>
<span style="mso-spacerun: yes;"> </span>However, in the larger museums like the
Met and as we shall see, the Cleveland Museum of Art (CMA), connoisseurship is
more difficult to incorporate within the mission of the museum, assuming that
it figures there at all.</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQiffEdm-S06JoEy624abm_yu2udNVMrPkzkH9vDdcy-f15TB6Iuf_THUs4VOm5VLV5G6kWMSWC3-Csk02abGzAoySR7c48-o4LmL-PlQqeYdrFPTivQgfIBsuWvdFObm3gfU3r2cAdyb/s1600/Cleveland_Museum_of_Art_atrium_expansion.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBQiffEdm-S06JoEy624abm_yu2udNVMrPkzkH9vDdcy-f15TB6Iuf_THUs4VOm5VLV5G6kWMSWC3-Csk02abGzAoySR7c48-o4LmL-PlQqeYdrFPTivQgfIBsuWvdFObm3gfU3r2cAdyb/s640/Cleveland_Museum_of_Art_atrium_expansion.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-family: Times,"Times New Roman",serif;">Atrium Expansion, CMA</span></span></td></tr>
</tbody></table>
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Teaching the public how to look features low down on a list
of priorities, of which more pressing are how to enlarge visitor numbers, not
only as a source of revenue but also as a marker of how museums are fulfilling
their role of making elitist culture available to the masses. This is what drives
the mammoth re-building programmes and architectural schemes that seem to be de
rigeur for museums nowadays. As museums do not know effectively how to expand
their audiences for visual art, they build pleasant public spaces, formulate
projects involving major curatorial <a href="http://artintheblood.typepad.com/art_history_today/2013/10/new-moves-at-the-national-gallery-london-playing-chess-with-the-curators.html" target="_blank">re-positionings,</a> setting out the chessboard
afresh. Those who watch and understand these games whisper nostalgically about
an era when large museum restaurants, cafeterias and blockbuster exhibitions
did not exist.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> <span style="mso-spacerun: yes;"> </span>That era is long over and there is no
possibility of returning to it as American museums like Cleveland complete huge
refurbishment projects, almost physical affirmations of the paradigm shift that
has occurred in the public museum. Museums in America, and indeed throughout
the world, for better or worse, are under immense pressure to change with the
times. The Cleveland Museum of Art is one of the many stories told of how
museums have responded to the pressures of modern times, initially by resisting
the encroaching industrial world with uncompromising conservative directors
like Sherman Lee, and later by adapting to the new climate of public
accountability and financial pressure that cultural organizations find
themselves in these days. </div>
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<br /></div>
<div class="MsoNormal">
<u>The Sherman E. Lee Era.</u></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRSNbvznEkBB9rnNJbbqwoFJS9zL2003dZcYynFcqdop-bDgyrdqOc6Fl48v5KmVtZtASpV1xe0uxovTx7DnuTclXi56_zsCBgD-vPjsZUuOMthpp4XFpLnbAUBjuh3ameIfCJld5rFaZn/s1600/Sherman_Lee_Yousuf_Karsh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRSNbvznEkBB9rnNJbbqwoFJS9zL2003dZcYynFcqdop-bDgyrdqOc6Fl48v5KmVtZtASpV1xe0uxovTx7DnuTclXi56_zsCBgD-vPjsZUuOMthpp4XFpLnbAUBjuh3ameIfCJld5rFaZn/s640/Sherman_Lee_Yousuf_Karsh.jpg" width="640" /></a></div>
<br />
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The CMA was established in 1913 and opened its doors to the public in 1916. Its most famous director is <a href="http://www.dictionaryofarthistorians.org/lees.htm">Sherman E. Lee</a> (1918-2008,
dir, 1958-1983) who guided the museum through a quarter of a century of its
development.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> An
expert in Asian art, and a connoisseur with a strong aesthetic sense, Lee was a
conscientious scholar who produced many books, unusual for a museum director in
those days, let alone now.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Lee
inherited an enviable situation in 1958 since the iron-ore magnate and
philanthropist Leonard C. Hanna had left $30 million (about $250 m today) to
the museum. Lee used this capital to pursue old masters and to build an
outstanding Asian collection. He bought works by Zurbaran and El Greco as well
as J.L. David’s <u>Cupid and Psyche,<span style="mso-spacerun: yes;"> </span>F.
E. </u>Church’s <u>Twilight in the Wilderness</u> and Poussin’s canonical
masterpiece, the <u><a href="http://www.clevelandart.org/art/1981.18">Holy
Family on the Steps</a> </u>in 1981, originally owned by Therese Bertin-Mourot,
the niece of Paul Jamot, a curator at the Louvre.<u> </u>However, Blunt cast
doubts on its authenticity<u> </u>whilst Lee was “100% convinced” that it was
an original. Blunt’s opinion carried weight with the French, and Pierre
Rosenberg, then director of the Louvre, told Lee that it wasn’t original. To cut
<a href="http://www.cleveland.com/arts/index.ssf/2013/06/mysteries_revealed_in_sherman.html">a
long story</a> short, the painting came to the States which got Lee in trouble
because three years after he brought the Poussin to America, the French
government issued an international arrest warrant accusing him of obtaining the
painting without an export license. Subsequently the French were mollified when
CMA agreed to lend the painting to the Louvre on future request. During a long
and illustrious career Lee was no stranger to controversy. Apart from the Poussin
affair, there was the purchase of a <a href="http://www.clevelandart.org/art/1974.71">“Grunewald”</a> for $20 million which
turned out to date from the 1970s, though the museum got its money back. Perhaps
the most provocative incident was Lee’s decision to remount a damaged statue of
Rodin’s <u><a href="http://www.clevelandart.org/research/in-the-library/collection-in-focus/rodins-thinker">Thinker</a></u>
after it had been disfigured by a bomb in 1970, a presumed act against the
Vietnam War, and subsequently a symbol of art’s vulnerability. Though an ardent
exponent of art education, Lee was unwilling to bow to prevailing fashion as he
saw the CMA as a bastion of high culture, less of a place of entertainment and definitely
a “blockbuster” free zone. This resulted in one critic calling Lee’s museum
“the only really aristocratic museum in America. “ This patrician attitude could
not prevail today because museums have to be commercially viable, attract the
public, and they cannot simply be “a place for looking at works of art” much to
the chagrin of art historians, aesthetes and connoisseurs who believe that is precisely what museums are
for!”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMifjhzrutTDtbhPbFAMvqhXYCp8M8KM8NMRV7Eabaknny1PvECWH7g0CD6u6_8SY1t-MQeTcx9_DXa6fw-5_Hsh3dL2bHvNst2N6IhhyI1DUySWmz7PuJnrqgQQ3p8-FnHiWnIkgW6xCQ/s1600/Cleveland_Museum_of_Art_-_damaged_Thinker.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMifjhzrutTDtbhPbFAMvqhXYCp8M8KM8NMRV7Eabaknny1PvECWH7g0CD6u6_8SY1t-MQeTcx9_DXa6fw-5_Hsh3dL2bHvNst2N6IhhyI1DUySWmz7PuJnrqgQQ3p8-FnHiWnIkgW6xCQ/s640/Cleveland_Museum_of_Art_-_damaged_Thinker.jpg" width="480" /></a></td></tr>
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Rodin, the Thinker, 1880-81, Bronze, green patina; 182.9 x 98.4 x 142.2 cm.
Gift of Ralph King 1917</span></span></span> <br />
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<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></span></span></span>
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<u>Brief Analysis of European Painting within the CMA.</u></div>
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For this brief survey I have kept to the museum’s
organization of European painting which falls into <a href="http://www.clevelandart.org/art/collections" target="_blank">four main areas: </a>“European
Painting and Sculpture 1500-1800”; “Modern European Painting and Sculpture”;
“American Painting and Sculpture”; and “Contemporary Art.” Rather than attempt
coverage I have chosen what I consider to be high quality works as well as a
few average ones for balance. For the first group, the Italian renaissance is
not well represented; among the best here are panels by Florentines like <a href="http://www.clevelandart.org/art/1964.150.1" target="_blank">FraFillippo Lippi</a>. For the Northern renaissance, there are beautiful works by <span style="mso-bidi-font-weight: bold;"><a href="http://www.clevelandart.org/art/1964.454" target="_blank">Jean de Beaumetz </a>and <a href="http://www.clevelandart.org/art/1972.47" target="_blank">Jan Gossaert</a> amongst
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQY0FS_gK0dk7ZqrLTJALd7iH3MPau19prLpvBG337iSoI2kqx6n01oJhtm4_yytrg-xeeDqgoJsrPhkVsITGY1HTaGq0L4Nk3M0USxMs5sx44AiubwsFv6RjEAkBfYQDn1ynxTmRQJ5_/s1600/Caravaggio_Crucifixion_santandrew.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQY0FS_gK0dk7ZqrLTJALd7iH3MPau19prLpvBG337iSoI2kqx6n01oJhtm4_yytrg-xeeDqgoJsrPhkVsITGY1HTaGq0L4Nk3M0USxMs5sx44AiubwsFv6RjEAkBfYQDn1ynxTmRQJ5_/s640/Caravaggio_Crucifixion_santandrew.jpg" width="474" /></a></td></tr>
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Crucifixion of St Andrew, 1606-7, oil on canvas, 202.5 x 152.7 cm, Leonard C.
Hanna, Jr. Fund 1976</span></span></span> <br />
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Things improve significantly when we arrive in the
mannerist and early baroque period as we encounter fine works by El Greco (<u><a href="http://www.clevelandart.org/art/1926.247">Holy Family</a></u> and <u>Christ
on the Cross</u>). Heading into the seventeenth- century we have stunning
examples of works by two diametrically opposed artists: Caravaggio’s <u><a href="http://www.clevelandart.org/art/1976.2">Crucifixion of St Andrew</a></u>
and Poussin’s <u>Holy Family on the Steps</u> where, in the words of Richard
Verdi, “logic and reason themselves acquire the fascination of the unattainable.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
The Northern Caravaggeschi are extremely well represented in this museum with impressive
works such as <span style="mso-spacerun: yes;"> </span>Honthorst’s <u><a href="http://www.clevelandart.org/art/1968.23">Samson and Delilah</a></u>, and
two versions of the <u>Denial of St Peter</u> by <a href="http://www.clevelandart.org/art/1972.169">Wtewael </a><span style="mso-spacerun: yes;"> </span>and <a href="http://www.clevelandart.org/art/1951.454">Georges De La Tour</a>, a
superb example of his night-painting. To this realist group, we could add
Zurbaran’s sombre <u><a href="http://www.clevelandart.org/art/1960.117">Christ
and the Virgin in the House of Nazareth</a></u> which juxtaposes in an intriguing
way Sevillian realism with the flamboyance of the high baroque. There are
examples of French classical works hung near Poussin like La Hyre’s pastoral
mediation on the end of the Fronde, <span style="mso-spacerun: yes;"> </span><u><a href="http://www.clevelandart.org/art/1971.102">Justice and Peace</a></u> and
Vouet’s <u><a href="http://www.clevelandart.org/art/1988.108">Penitent
Magdalene</a>, </u>which seamlessly blends Caravaggio with French elegance . Neo-classical
paintings like J.L. David’s <u><a href="http://www.clevelandart.org/art/1962.37">Cupid
and Pysche</a></u> fall into the “Modern European Group” and from later periods
and styles we can add such diverse works as Berthe Morisot’s <u><a href="http://www.clevelandart.org/art/1950.89">Reading</a></u>, Picasso’s <u><a href="http://www.clevelandart.org/art/1945.24">La Vie</a></u>,(the endpoint of
modern art in Lee’s time) and Salvador Dali’s enigmatic <u><a href="http://www.clevelandart.org/art/2001.34">The Dream</a></u>. From copious
holdings of American art including 488 paintings, two of the best selections
are Church’s fusion of weather and politics, <u><a href="http://www.clevelandart.org/art/1965.233">Twilight in the Wilderness</a></u>,
and from the gritty realist school, George Bellow’s pugilistic <u><a href="http://www.clevelandart.org/art/1133.1922">Stag at Sharkey’s</a></u>
which observes “lumpen Darwinism” in modernist America.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3fz805Xde8xQXZ-VG0ZW_hGTuxrmyPMQ108heRL03Gq8_T37Aul6uWHUdogJCCseXoO-ahPa0DVvWb-EX6ptkqNPqVsPsVD_P3X00MN_oLUHA626hHhKuxPzbhhvqPX5lFcO4l6u5AhTY/s1600/Twilight_wilderness_big.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3fz805Xde8xQXZ-VG0ZW_hGTuxrmyPMQ108heRL03Gq8_T37Aul6uWHUdogJCCseXoO-ahPa0DVvWb-EX6ptkqNPqVsPsVD_P3X00MN_oLUHA626hHhKuxPzbhhvqPX5lFcO4l6u5AhTY/s640/Twilight_wilderness_big.jpeg" width="640" /></a></td></tr>
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<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span></span></span></span></div>
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<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></span></span></span><u>Consolidation and Change: Moving into the Future. </u></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirJ6pqpIatidegLgwtaXIRkvs4ax-_GVC8IMuHRAmHpRm5JBHuz9zwJdrVBrWcjKqUptSd3QIDQPY2onqO2uYqmidTDAaDoZWWAO3gdrSE7J39RNtJKnnCax1bmTX6osY3cUEgW1700mP0/s1600/Cleveland_Museum_of_Art_-_lagoon_with_statue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirJ6pqpIatidegLgwtaXIRkvs4ax-_GVC8IMuHRAmHpRm5JBHuz9zwJdrVBrWcjKqUptSd3QIDQPY2onqO2uYqmidTDAaDoZWWAO3gdrSE7J39RNtJKnnCax1bmTX6osY3cUEgW1700mP0/s640/Cleveland_Museum_of_Art_-_lagoon_with_statue.jpg" width="640" /></a></div>
As it nears the end of its massive refurbishment project, CMA
is going through great changes. During David Franklin’s tenure the museum handled
change well, opening the new <a href="http://www.clevelandart.org/gallery-one" target="_blank">Gallery One</a>, raising $100 million and saving <a href="http://www.artsjournal.com/culturegrrl/2013/08/ill-see-your-charioteer-and-raise-you-a-caravaggio-cleveland-museum-and-sicily-both-win-at-exhibition-poker.html">an
important exhibition</a>. However, CMA was not expecting Franklin to tender his
resignation suddenly in October for undisclosed reasons, which comes at a
crucial time in the museums expansion.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn9" name="_ftnref9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span></span></span></a>
<span style="mso-spacerun: yes;"> </span>The loss of Franklin is clearly a blow
since he had interesting plans for the museum and has a reputation as a fine
curator. As he wrote in the museum’s annual report from 2009-10, he was aiming
for a “contemplating and moving experience,” negotiating between the idea of
the museum as the space of intense looking and the idea of it as a participant
in a grander narrative of progress moving forward into the future.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn10" name="_ftnref10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span></span></span></a>
The museum can achieve this by remaining true to the vision of its founders by
keeping <a href="http://www.clevelandart.org/visit/plan-your-visit/admission-and-hours">general
admission free to the public</a>, and with a $600 million endowment it is one
of the wealthiest museums in America able to build on its acquisitions. The permanent collection of 43,000 works
of art has been returned to the refurbished galleries and the challenge of
displaying this diverse collection to the public continues. From reading the
report on acquisitions it is obvious that the museum is adding new art to the
collection, especially contemporary art. Unlike Lee, the museum has not
encountered problems in pursuing contemporary art and has increased its
holdings which now includes specimens by Warhol and Pollock amongst
others. However, it is clear that renaissance art is a weak
area of the museum with many attributed and studio works, so this area is
crying out for enhancement. One hopes that there may be attempts made to
address this deficiency, especially as old master art though expensive isn’t as
costly as contemporary art. Though this museum is broadly strong across its
many collections, perhaps the most impressive are its Asian and American
collections, and the superlative collection of baroque old masters, one of the
best in the country.</div>
<div class="MsoNormal">
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<u>Slides</u></div>
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<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of the Cleveland Museum of Art from Euclid
Avenue. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Photograph of Sheridan E. Lee, director, 1958-83.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Northern entrance, showing the 1971 Marcel
Breuer expansion.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Auguste Rodin, the Thinker, 1880-81, Bronze,
green patina; 182.9 x 98.4 x 142.2 cm. Gift of Ralph King 1917.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Giovanni Ambrogio di Predis, Angel, Portrait of a
Youth as Saint Sebastian, oil on wood, transferred to pressed wood, 30.50 x 24.
cm, John L. Severance Fund 1986.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Fra Fillippo Lippi, , St Michael, 1456-58,
Tempera on wood, 81 x 30 cm, Leonard C. Hanna, Jr. Fund 1964.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jean de Beaumetz, Calvary with a Praying
Carthusian Monk, 1390-85, Tempera on wood, 56 x 45,6 cm, oil on oak panel, 56.6
x 45.7 cm, Leonard C. Hanna, Jr. Fund 1964.454<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jan Gossaert (Mabuse), Virgin and Child in a
Landscape, 1531, Oil on oak panel, 50 x 38 cm, John L. Severance Fund 1972.47<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Caravaggio, Crucifixion of St Andrew, 1606-7,
oil on canvas, 202.5 x 152.7 cm, Leonard C. Hanna, Jr. Fund 1976.2<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gerrit von Honthorst, Samson and Delilah, 1620,
oil on canvas, 129 x 94 cm, Mr. and Mrs. William H. Marlatt Fund 1968.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Hendrick Terbrugghen, St Jerome, oil on canvas,
125.5 x 102 cm, Mr. and Mrs. William H. Marlatt Fund 1977.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Georges de La Tour, St Peter Repentant, 1645,
oil on canvas, 114.0 x<span style="mso-spacerun: yes;"> </span>95.00 cm, Gift of
the Hanna Fund 1951.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Poussin, Holy Family on the Steps, 1648, oil on
canvas, 73.3 x 105.8 cm, Leonard C. Hanna, Jr. Fund 1981.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Laurent de La Hyre, Justice and Peace Embracing
in a Landscape, oil on canvas, 54.9 x 76.2 cm, John L. Severance Fund 1971.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Simon Vouet, Penitent Magdalene, c. 1630, Oil on
canvas, 131 x 104 cm, Leonard C. Hanna, Jr. Fund 1988.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Zurbaran, Christ and the Virgin in the House of Nazareth,
1640, oil on canvas, 165 x 218.2, Leonard C. Hanna, Jr. Fund 1960.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>El Greco, Holy Family with Mary Magdalene,
1590-95, oil on canvas, 130 x 100 cm, Gift of the Friends of The Cleveland
Museum of Art in memory of J. H. Wade 1926.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jean Baptise Oudry, A Hare and a Leg of Lamb,
1742, oil on canvas, 98.2 x 73.5 cm, John L. Severance Fund 1969.53<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>J L David, Cupid and Pysche, 1817, oil on
canvas, 184.2 x 241.6 cm, Leonard C. Hanna, Jr. Fund 1962.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of neo-classical galleries. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gustave Courbet, Portrait of Portrait of Laure
Borreau, 1863, Oil on canvas, 81 x 59 cm, Leonard C. Hanna, Jr. Fund 1962.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Berthe Morisot, Reading, 1873, oil on fabric, 46
x 71.8 cm, Gift of the Hanna Fund 1950.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Claude Monet, The Red Kerchief, 1869-71, Oil on
canvas, 99 x 80 cm, Bequest of Leonard C. Hanna, Jr. 1958.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Pablo Picasso, La Vie, (Life), Oil on canvas;
197 x 129 cm, Gift of the Hanna Fund 1945.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Salvador Dali, The Dream, 1931, 96.0 x 96.0 cm, John
L. Severance Fund 2001.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Frederick Edwin Church, Twilight in the Wilderness,
1860s, oil on canvas, 101. 6 x 162.6 cm, Mr and Mrs William H. Marlatt Fund. <span style="mso-spacerun: yes;"> </span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>George Bellows, Stag at Sharkey, 1909, oil on
canvas, 92 x 122.6 cm, Hinman B. Hurlbut Collection. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>R.J. Kitaj, The Garden, 1981, oil on canvas,
121.9 x 121.9 cm, Gift of The Eppler Family Foundation, an Anonymous Donor, The
Kangesser Foundation, Mr. and Mrs. Frank H. Porter, in memory of William M.
Milliken, The Thomas and Mildred Doughtery Foundation, and Wishing Well Fund
1981.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">29)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Lucien Freud, Portrait of Ib, oil on canvas, 50.7
x 40.6 cm, Mr. and Mrs. William H. Marlatt Fund 1979.15 <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">30)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Andy Warhol, Marilyn x 100,19 62,<span style="mso-spacerun: yes;"> </span>screenprint ink and synthetic polymer paint
on canvas, 205.7 x 567.7 cm, Leonard C. Hanna, Jr. Fund, and Anonymous Gift
1997.<br />
<br />
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
See James N. Wood, “The Authorities of the American Art Museum” in <u>Whose
Muse: Art Museums and the Public Trust</u>, ed. James Cuno, Princeton
University Press, 1990, 103-127, 107.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a> <u>Whose
Muse</u>, 184.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> On
the Cleveland situation see David Carrier, <u>Museum Skepticism: History of the
Display of Art and Public Galleries</u>, Duke University Press, 2006.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> See
NYT’s <a href="http://www.nytimes.com/2008/07/11/arts/design/11lee.html?scp=1&sq=Sherman+E+Lee&st=nyt&_r=0" target="_blank">obituary</a>. </div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
Carrier, <span style="mso-spacerun: yes;"> </span><u>Museum Skepticism, </u>197. </div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a> Carrier,
<u>Museum Skepticism</u>, 199.</div>
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<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
Verdi, <u>Nicholas Poussin 1594-1665</u>, RA, 2005, no. 60. </div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a> On
Church and Bellow’s paintings, see Robert Hughes, <u>American Visions</u>,
157-166, 330-335.</div>
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<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span></span></span></a>Franklin
has said that he <a href="http://www.newsnet5.com/dpp/news/local_news/cleveland_metro/cleveland-museum-of-art-director-david-franklin-resigns-fred-bidwell-appointed-interim-director">resigned</a>
to devote more time to research and scholarship. His statement can be found <a href="http://www.clevelandart.org/about/press/media-kit/cleveland-museum-art-director-david-franklin-resigns">here</a>.
The interim director of the museum is <a href="http://www.cleveland.com/arts/index.ssf/2013/10/interim_director_fred_bidwell.html">Fred
Bidwell</a>, a collector and advertising executive, who leads the search for a
new director. The institution has had <a href="http://www.artsjournal.com/culturegrrl/2013/10/another-dizzying-spin-in-cleveland-museums-revolving-door-directorship-david-franklins-sudden-shocking-exit.html">four
directors</a> since 2000, including Lee's daughter, Katharine Lee Reid (2000-2005); Timothy Rub
(2006-2009); and Deborah Gribbon (2009-2010).</div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span></span></span></a> <a href="http://www.clevelandart.org/about/annual-report">http://www.clevelandart.org/about/annual-report</a></div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7794919694945333232.post-66506441892997910612013-10-22T12:36:00.000-07:002013-10-22T12:48:53.310-07:00New York: Frick Collection<!--[if !mso]>
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<u><span style="font-size: 12.0pt; line-height: 115%;">A Private
Collection turned Public.</span></u></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnVXBIVMHX-WWKp0S4RCCB9lN750T-PZUz54uzNQGXGYA92rCWyM-JQLyOKgI60-_-d8TjXNvczKdq_JLiY1gHBX2bcXdOu2sQgVQ3Pxkw805BKAUr0fr5OVpm9FUduhLhCAaYfwKxgCOH/s1600/Henry_C_Frick_House_009.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnVXBIVMHX-WWKp0S4RCCB9lN750T-PZUz54uzNQGXGYA92rCWyM-JQLyOKgI60-_-d8TjXNvczKdq_JLiY1gHBX2bcXdOu2sQgVQ3Pxkw805BKAUr0fr5OVpm9FUduhLhCAaYfwKxgCOH/s640/Henry_C_Frick_House_009.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; line-height: 115%;">View of the Frick Mansion, Frick
Collection.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM2x1RvY3uWr3C3_KmnELr1UhmLyRouTiUBj47w_C5ZRbLcEYkdxsXZ7uuPYMRwRjMe9k1aUIg7ViI4YPzrdXBRrWCeU_oo7AFgTAd8p4hy21DHIvLoQ3J_A7Sr8cCWdMNtlfq7Ex4MD1c/s1600/FRICKLIVINGROOM.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM2x1RvY3uWr3C3_KmnELr1UhmLyRouTiUBj47w_C5ZRbLcEYkdxsXZ7uuPYMRwRjMe9k1aUIg7ViI4YPzrdXBRrWCeU_oo7AFgTAd8p4hy21DHIvLoQ3J_A7Sr8cCWdMNtlfq7Ex4MD1c/s640/FRICKLIVINGROOM.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Living Hall, Frick Collection.</td></tr>
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<span style="font-size: small; line-height: 115%;">Some museums
are so large that walking around them is little more than taking inventory of
the objects within. In the case of the <a href="http://www.frick.org/collection/search-our-collections" target="_blank">Frick Collection </a>the scale is much
smaller and therefore the experience is more manageable. Though there is much
on view, the Frick can be walked around in a day since it is one museum, not
many museums under one umbrella, as in the case of the Met. One museum, one
individual, after whom it is named: <a href="http://en.wikipedia.org/wiki/Henry_Clay_Frick" target="_blank">Henry Clay Frick</a>. That in itself creates a
different perspective since the art is housed in rooms in a rich man’s house,
and so there is more the sense of a more intimate set of pictures assembled by
a private collector to adorn his townhouse rather than a museum showing the restive
moves of a curator. At the Frick the pack is rarely shuffled, no sweeping
re-hangs, or ambitious masterplans since great care is taken to preserve <a href="http://www.nytimes.com/2008/08/29/arts/design/29fric.html?_r=0">its
original spirit</a>. The word “blockbuster” is never used at the Frick and
exhibitions are more subtle, more <a href="http://www.nytimes.com/1985/11/24/arts/art-view-ingres-s-portrait-of-a-lady-is-the-mirror-of-an-age.html">the
equivalent of chamber music</a> than grand symphonic <i>concerts</i>. If there is a comparable museum in the world it is
probably the Wallace Collection in London which has many 18th century works
like the Frick including Boucher and Fragonard. Frick obviously knew the
<a href="http://www.wallacecollection.org/" target="_blank">Wallace Collection</a> since he named rooms after the great rococo masters, Boucher
and Fragonard. The <a href="http://www.frick.org/visit/virtual_tour/fragonard_room" target="_blank">Fragonard Room</a> is one of the most famous spaces in the
museum. Four paintings by the 18<sup>th</sup> century French master, executed
for Mme de Barry, and complimented by sculpture of the same era by Clodion and
Houdon give the room an almost aristocratic flavour. Then there is the <a href="http://www.frick.org/visit/virtual_tour/living_hall" target="_blank">LivingHall</a>, previously Frick’s sitting room in which we’ll find an El Greco <u>St
Jerome</u> over the fire place with other impressive portraits by Holbein
hanging nearby, especially his <u>Thomas More</u> who looks ready to face down
the devil himself. And we mustn’t forget in the same room one of the finest
renaissance paintings in America: Giovanni Bellini’s <u>St Francis in the Desert</u>.
We can only envy Frick having this beautiful painting to contemplate every
morning. </span></div>
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<span style="font-size: small;"><u><span style="line-height: 115%;">The Man
behind the Museum: Henry Clay Frick. </span></u></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTU_CSUTnsVKJgfJ6Bzn-XN2_63oWDVC1b32BigNVY2uqDWmU7aUg1tUZXuBu4M9-DHA2Hn9yEkGL91Y9ywZBWCQrH-kNlLFG_hUCukEagbQRc2pCpHhqY06oNxfQtAjIS_mN7T1RcRCFG/s1600/Henry_Clay_Frick.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTU_CSUTnsVKJgfJ6Bzn-XN2_63oWDVC1b32BigNVY2uqDWmU7aUg1tUZXuBu4M9-DHA2Hn9yEkGL91Y9ywZBWCQrH-kNlLFG_hUCukEagbQRc2pCpHhqY06oNxfQtAjIS_mN7T1RcRCFG/s640/Henry_Clay_Frick.jpg" width="466" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henry Clay Frick</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisvaQ6lpt-STZcswkLRGqj4uaGwDOLDwqd1QoBn_bidSd3MSYEkFSe6X_lUPN-XP6avbZRalvI0JuWM0L6lMA44RCoCfTP557lPS094t6Q_GhGgliUP17YCKgZr5CemjA3DV2k1TbkiTNl/s1600/Berkman_with_Frick_(1892).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisvaQ6lpt-STZcswkLRGqj4uaGwDOLDwqd1QoBn_bidSd3MSYEkFSe6X_lUPN-XP6avbZRalvI0JuWM0L6lMA44RCoCfTP557lPS094t6Q_GhGgliUP17YCKgZr5CemjA3DV2k1TbkiTNl/s640/Berkman_with_Frick_(1892).jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; line-height: 115%;">Berkman's attempt to assassinate
Frick, as illustrated by W. P. Snyder in 1892, originally published in Harper's
Weekly.</span></td></tr>
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<span style="font-size: small; line-height: 115%;">Though Posterity
has rightly painted the portrait of a great collector, she hasn’t been able to
lighten darker aspects of Frick’s personality. At one point Frick was voted the
“most hated man in America” because of his <a href="http://www.cnbc.com/id/30502091?slide=11">ruthlessness in business dealings</a>
including union-breaking. By 1892 Frick had become so unpopular due to Pinkerton
Detectives he had hired killing nine steelworkers that an unsuccessful assassination
attempt was made on his life by an anarchist. Henry Clay Frick (1849- 1914) from
Pennsylvania founded the H.C. Frick and Company Coke Manufacturing Company and
was Chairman of Carnegie Steel, a predecessor to U.S. Steel. His business
interests did not stop there; he financed the construction of the Pennsylvania
Railroad and had vast holdings in real estate in Pittsburgh. In 1910 Frick
purchased property at Fifth Avenue and 70<sup>th</sup> St, a mansion, which is
now known as the Frick Collection. Frick lived a charmed life since in addition
to evading the assassin’s bullet, his wife’s sprained ankle kept them from
boarding the inaugural Titanic on its fateful voyage.</span></div>
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<span style="font-size: small;"><u><span style="line-height: 115%;">An
Overview of the Old Masters in the Frick Collection.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><u><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">[1]</span></u></span></span></a></span></u></span></div>
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<span style="font-size: small;"><u><span style="line-height: 115%;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><u><span style="font-family: "Calibri","sans-serif"; line-height: 115%;"> </span></u></span></span>
</span></u></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNpUc0IBYvnD2sLyVXx8pHsG1cSA59t352XBM9FaeCQQaxOQn1fRnxLfoqOspBfYwX6KC3_li-r3RLdMa41ISYApJSGtj14VpY2vrapovMVA-UEy413rClB9OyLPMzzLeBIpgIfXH1IqPE/s1600/08offic.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNpUc0IBYvnD2sLyVXx8pHsG1cSA59t352XBM9FaeCQQaxOQn1fRnxLfoqOspBfYwX6KC3_li-r3RLdMa41ISYApJSGtj14VpY2vrapovMVA-UEy413rClB9OyLPMzzLeBIpgIfXH1IqPE/s640/08offic.jpg" width="574" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; line-height: 115%;">Vermeer, Officer and Laughing Girl, 1657,
Oil on canvas, 50,5 x 46 cm, purchased 1911, South Hall. </span> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zLzet0GsLc7GT6xgZyD3qk-nJawGrJ4t7py9zLQU3CuAPEdscxqsHwPO7YchHM745syccXkyWTh4yYk19xlbUzT28h6fHlkx83g67v8NC_wo9w94r3nSwAR2T4jpv0Bq_9IUSr_-I1N2/s1600/Rembrandt_Harmensz._van_Rijn_130.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7zLzet0GsLc7GT6xgZyD3qk-nJawGrJ4t7py9zLQU3CuAPEdscxqsHwPO7YchHM745syccXkyWTh4yYk19xlbUzT28h6fHlkx83g67v8NC_wo9w94r3nSwAR2T4jpv0Bq_9IUSr_-I1N2/s640/Rembrandt_Harmensz._van_Rijn_130.jpg" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; line-height: 115%;">Rembrandt, Self-Portrait, 1658, oil
on canvas, 133.7 x 103.8 cm, purchased 1906, West Gallery.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgct_QW-VKZKJHx4t3bs3rY47RUNtsOYHmx8YkibPvqJb-xjh7sKXQpVeNumG35HTJVGJBUS76iVO7IhUC4ERU96EEIZF9zlAMWcqNyhJsBYEeI1kUS_U78L3RnYNz4pUobwQpyohIMJQjT/s1600/El_Greco_-_San_Jer%C3%B3nimo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgct_QW-VKZKJHx4t3bs3rY47RUNtsOYHmx8YkibPvqJb-xjh7sKXQpVeNumG35HTJVGJBUS76iVO7IhUC4ERU96EEIZF9zlAMWcqNyhJsBYEeI1kUS_U78L3RnYNz4pUobwQpyohIMJQjT/s640/El_Greco_-_San_Jer%C3%B3nimo.jpg" width="532" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; line-height: 115%;">El Greco, St Jerome, 1590-1600, oil
on canvas, 110.5 x 95.3 cm, purchased 1905, Living Hall. </span></td></tr>
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<span style="font-size: small; line-height: 115%;">The phrase
“old master” seems particularly relevant here since we are dealing primarily
with paintings from the renaissance to the mid nineteenth-century with the
emphasis on the 17<sup>th</sup> and 18<sup>th</sup> century. Though far from a
comprehensive survey of Italian renaissance art, the Frick does boast some fine
gems. Of the pick of renaissance art, the best, arguably, are the <a href="http://collections.frick.org/view/objects/asitem/items$0040:152" target="_blank">Duccio </a>and
<a href="http://collections.frick.org/view/people/asitem/P/11?t:state:flow=67817616-67dc-4a3f-b4cc-074a55a375f9" target="_blank">Piero della Francesca</a> panels, Bellini’s <a href="http://collections.frick.org/view/objects/asitem/People@46/0?t:state:flow=bcc61fa6-05db-43c2-b0c0-87b92bdcec5d" target="_blank"><u>St Francis</u></a>, Holbein’s <a href="http://collections.frick.org/view/objects/asitem/People@110/0?t:state:flow=691e8d2d-867c-4b7a-ae6e-4a165edce2d8" target="_blank"><u>ThomasMore</u></a>, and Titian’s <a href="http://collections.frick.org/view/objects/asitem/People@168/2?t:state:flow=faada842-35bc-487c-96e6-606f9177fdc0" target="_blank"><u>Portrait of a Young Man</u></a>. The late renaissance and mannerist period
sees a few allegories by Veronese which may or may not have some connection
with the ones in the Met. The 17<sup>th</sup> century is represented well in
this collection with the strongest holdings Dutch and Spanish. Pride of place
here goes to Rembrandt’s glorious <a href="http://collections.frick.org/view/objects/asitem/People@151/13?t:state:flow=bc0c033b-6a8b-4280-9533-9f1d14044ddb" target="_blank"><u>Self-Portrait</u></a> and the enigmatic <a href="http://collections.frick.org/view/objects/asitem/People@151/16?t:state:flow=bc0c033b-6a8b-4280-9533-9f1d14044ddb" target="_blank"><u>PolishRider</u></a> (West Gallery), two out of s<a href="http://collections.frick.org/view/people/asitem/R/2?t:state:flow=dc9b5767-fb5c-45b9-980f-0e3c02172f46" target="_blank">everal Rembrandts</a> in the collection. There
are also canvases by Hals and Hobbema in the same room. No visitor would want
to miss the <a href="http://collections.frick.org/view/people/asitem/V/8?t:state:flow=ad5a9902-f2dd-437f-9d24-2b01cb32b248" target="_blank">three Vermeers </a>including <u>Officer and Laughing Girl</u> (West
Gallery and South Hall). The Spanish 17<sup>th</sup> century is represented by
<a href="http://collections.frick.org/view/people/asitem/G/16?t:state:flow=5c26ecd0-098c-4abd-b966-2641e816cc6f" target="_blank">three El Grecos</a>, including the <u>St Jerome</u> (Living Hall). The 17<sup>th</sup>
century French school is disappointing with a minor Claude and a disputed
George de La Tour, (East and West Gallery).<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">[2]</span></span></span></a>
The Flemish baroque is borne mainly on the shoulders of Van Dyck (7 works), but
nothing by his master Rubens. The paintings of the rococo style have always
served to give this collection a distinct decorative flavour. Boucher and
Fragonard have their own rooms with the latter boasting four canvases from his
“Progress of Love” series, which Frick purchased from J. P. Morgan. There are
also individual works by 18<sup>th</sup> century artists like Watteau and
Greuze, and outside France, Gainsborough (7 works), Reynolds (3 works), and
Romney (2 works), not to mention the wealth of rococo sculpture strategically
positioned to enhance the elegance of this century’s art. Turning to the romanticism of the 19<sup>th</sup>
century, the stress is English again with 4 Turners including the lyrical <a href="http://collections.frick.org/view/objects/asitem/People@169/3?t:state:flow=49344169-c0cd-4b6a-88c0-2b6d40b80650" target="_blank"><u>MortlakeTerrace: Early Summer Morning</u></a> (Library). Also worthy of note is Constable’s
<a href="http://collections.frick.org/view/objects/asitem/People@69/2?t:state:flow=d2a3697b-dad0-4e32-bf34-ba00270f62f9" target="_blank"><u>Salisbury Cathedral</u>,</a> one of three works by the artist. The French
recover ground with works by Corot, Millet, Manet and Monet, <u>Vétheuil in
Winter</u> in the North Hall. One school that isn’t much in evidence is the
American unless you count the cosmopolitan Whistler who has no less than 5
works in the collection including the portrait of <a href="http://collections.frick.org/view/objects/asitem/People@180/2?t:state:flow=baf326fd-a39d-4045-8d87-b53ce96bbc76" target="_blank"><u>Lady Meux</u>.</a> More
traditionally, there is the obligatory portrait of Washington, in the Library
by Gilbert Stuart.</span></div>
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<span style="font-size: small;"><u><span style="line-height: 115%;">J.P.
Morgan and the Frick. </span></u></span></div>
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<tr><td class="tr-caption" style="text-align: center;">S.S. Titanic </td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; line-height: 115%;">J.P. Morgan meets the Press</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzQYTlPDYsL9nVzxzNv0SU0DEiPeMF1h9q7KGUeLQ9A5ROp0yclhG_mHfm2Q6WyOScagNOtPYs1XiXhnc6KEwGQTP1RaRQ1dofYoV0r60lN8d6Zi0Nrl54nZuzHiaOCdPXkKjR6ZmeRXw/s1600/Jean_Honore_Fragonard_Surprise.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvzQYTlPDYsL9nVzxzNv0SU0DEiPeMF1h9q7KGUeLQ9A5ROp0yclhG_mHfm2Q6WyOScagNOtPYs1XiXhnc6KEwGQTP1RaRQ1dofYoV0r60lN8d6Zi0Nrl54nZuzHiaOCdPXkKjR6ZmeRXw/s640/Jean_Honore_Fragonard_Surprise.jpg" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small; line-height: 115%;"><span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"></span></span><span style="font-size: x-small; line-height: 115%;">Jean Honoré Fragonard, The Progress
of Love: The Meeting, 1771, Oil on canvas, 318 x 215 cm, purchased fr J.P.
Morgan, 1915, Fragonard Room. </span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small; line-height: 115%;">Another
member of the <a href="http://www.smithsonianmag.com/history-archaeology/Seven-Famous-People-Who-Missed-the-Titanic.html?c=y&page=5&navigation=next#IMAGES">“missing
the Titianic” club</a> was <a href="http://en.wikipedia.org/wiki/J._P._Morgan" target="_blank">John Pierpont Morgan</a>, a famous collector and
business magnate credited with saving the U.S. banking system during the panic
of 1907. Unlike Frick, Morgan was born into the elite, and according to the art
historian <a href="http://www.dictionaryofarthistorians.org/valentinerw.htm" target="_blank">Valentiner </a>had no desire to use art to improve his social standing.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">[3]</span></span></span></a>
He was also dissimilar to Frick in that he was more of a connoisseur of the
decorative arts since he appreciated fine craftsmanship rather than “the conceptual
pleasures of painting”, which of all the arts, interested him least. The
remains of Morgan’s collection are divided between the Met, the <a href="http://www.thewadsworth.org/" target="_blank">WadsworthAthenaeum </a>(Hartford) and the Frick. Morgan didn’t hobnob with connoisseurs like
Berenson or dealers like <a href="http://en.wikipedia.org/wiki/Joseph_Duveen,_1st_Baron_Duveen" target="_blank">Duveen</a>, and though painting may have come low down on
his list of priorities, he still landed big fish like Constable’s <u>White
Horse</u>, Rembrandt’s <u>Portrait of Nicolaes Ruts</u> bought in 1943 and the <u>Progress
of Love</u> panels by Fragonard in 1898 for £62,000, roughly $300,000.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; line-height: 115%;">[4]</span></span></span></a>
These were eventually bought by from Morgan by Frick in 1915 and with the
negotiation of Duveen various other objects like French enamels which reside in
the room of the same name. Despite these losses, Morgan could claim a victory
over collectors like Frick since he secured Raphael’s <a href="http://www.metmuseum.org/Collections/search-the-collections/437372?rpp=20&pg=1&ao=on&ft=Raphael&pos=1" target="_blank"><u>Colonna Altarpiece</u></a>
(now in the Met) and even a Raphael <u>Madonna</u> which had even eluded Mrs
Gardner. There are no Raphaels in the
Frick Collection unless you count the enamel dish with a <u>Judgment of Paris</u>
based on Raphael’s famous design. </span></div>
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<div class="MsoNormal">
<span style="font-size: small;"><u><span style="line-height: 115%;">Slides.</span></u></span></div>
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<span style="font-size: small;"><br /></span></div>
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">1)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">View of the Frick Mansion, Frick
Collection.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">2)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Photo of Henry Clay Frick (1849-1919).
</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">3)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Edmund Tarbell, Study for Henry Clay
Frick and his daughter, Helen (1888-1984), 1909.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">4)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Berkman's attempt to assassinate
Frick, as illustrated by W. P. Snyder in 1892, originally published in Harper's
Weekly.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">5)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Duccio, Temptation on the Mount,
1308-11, Tempera on wood, 43 x 46 cm, purchased 1927, Enamels Room.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">6)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Piero della Francesca, Polyptych of
St Augustine: St John the Evangelist or St Simon Zelotes, c. 1460, Tempera on
panel, 132 x 58 cm, Bequest of John D. Rockefeller, 1961, Enamels Room.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">7)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Giovanni Bellini, St Francis in the
Desert, c. 1475-78, oil on panel, 124.1 x 140.5 cm, Living Hall, HC Frick
Bequest.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">8)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Hans Holbein the Younger, Portrait of
Sir Thomas More, 1527, oil on oak panel, 74.9 x 60.3 cm, Living Hall, H.C.
Frick Bequest.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">9)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Titian, Portrait of a Man in a Red
Cap, c. 1510-16, Oil on canvas, 82 x 71 cm, 82.2 x 71.1 cm, purchased 1915, H.C.
Frick Bequest, Living Hall.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">10)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">El Greco, St Jerome, 1590-1600, oil
on canvas, 110.5 x 95.3 cm, purchased 1905, H.C. Frick Bequest, Living Hall. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">11)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Agnolo Bronzino, Portrait of Ludovico Capponi, 1551, Oil on
wood, 117 x 86 cm, West Gallery, </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">12)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Paul Veronese, Allegory of Wisdom and
Strength, c. 1580, Oil on canvas, 214.6 x 167, 214.6 x 167 cm, purchased 1912,
H.C. Frick Bequest, West Gallery. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">13)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Rembrandt, Self-Portrait, 1658, oil
on canvas, 133.7 x 103.8 cm, purchased 1906, H.C. Frick Bequest, West Gallery.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">14)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Frans Hals, Portrait of a Painter,
early 1650s, oil on canvas, 100.3 x 82.9 cm, H. C. Frick Bequest, West Gallery.
</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">15)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Anthony Van Dyck, Franz Snyders, c.
1620, 142.6 x 105.4 cm, purchased 1909, H.C. Frick Bequest, West Gallery. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">16)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Rembrandt, The Polish Rider, 1655,
oil on canvas, 116.8 x 134.9 cm, purchased 1910, West Gallery.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">17)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Vermeer, Lady with Her Maidservant
Holding a Letter, c. 1667, Oil on canvas, 89,5 x 78,1 cm, purchased 1919, H. Frick Bequest, West Gallery. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">18)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Francisco de Goya, The Forge, c.
1815-20, oil on canvas, 181.6 x 125.1 cm, purchased 1914, H.C. Frick Bequest,
West Gallery. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">19)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">J.M.W. Turner, The Harbour at Dieppe,
182(6)?, oil on canvas, 173.7 x 225.4 c purchased 1914, Henry Clay Frick
Bequest, West Gallery. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">20)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Vermeer, Officer and Laughing Girl, 1657,
Oil on canvas, 50,5 x 46 cm, purchased 1911, H.C. Frick Bequest, South Hall. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">21)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Ingres, Comtesse d’Haussonville, 1845,
oil on canvas, 131.8 x 92.1 cm, purchased 1927, purchased by Frick Coll., 1927,
North Hall. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">22)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">James McNeil Whistler, Harmony in
Pink and Grey: Portrait of Lady Meux, oil on canvas, 1881-82, 193.7 x 93 cm,
H.C. Frick Bequest, formerly East Gallery, but currently not on view. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">23)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Jean Honoré Fragonard, The Progress
of Love (The Pursuit), 1771-73, oil on canvas, 318 x 215 cm, purchased fr J.P.
Morgan, 1915, Fragonard Room. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">24)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Jean Honoré Fragonard, The Progress
of Love: The Meeting, 1771, Oil on canvas, 318 x 215 cm, purchased fr J.P.
Morgan, 1915, Fragonard Room. </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">25)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Photograph of J.P. Morgan.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">26)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Raphael, The Colonna Altarpiece, 1504,
Met, New York, oil and gold on wood, Main panel, overall, 172.4 x 172.4 cm,
Gift of J.P. Morgan, 1916.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small; line-height: 115%;">27)<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-family: "Times New Roman"; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span style="font-size: small; line-height: 115%;">Fontana Workshop, Majolica dish with
Judgement of Paris, 1565-75,</span><span style="font-size: small;"> <span style="line-height: 115%;">Gift of Dianne Dwyer Modestini in memory of Mario Modestini, 2008 Enamels
Room.</span></span><br />
<br />
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
See <u>The Frick Collection: A Guide to the Works of Art on Exhibition</u>,
2008.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a> “Studio
of” on website, but att to Georges by Conisbee and co in <u>George de La Tour
and his World</u> (Washington, 1996), no. 29; though in hindsight Wright’s
attribution to Etienne, La Tour's son, back in the 1960s seems a better call, ibid, 124.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> Jean
Strouse, <a href="http://www.metmuseum.org/research/metpublications/J_Pierpont_Morgan_Financier_and_Collector_The_Metropolitan_Museum_of_Art_Bulletin_v_57_no_3">“J.
P. Morgan: Financier and Collector”</a>, <u>Metropolitan Museum of Art Bulletin</u>,
v. 57, no. 3, (Winter 2000), 41.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> On
the Fragonard pictures and erotic decoration, see Mary D. Sheriff, <u>Fragonard:
Art and Eroticism</u>,<span style="mso-spacerun: yes;"> </span>University of
Chicago, 1990, 58f.</div>
</div>
</div>
Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-7794919694945333232.post-10655983056952438442013-10-10T11:50:00.001-07:002013-10-16T00:21:07.671-07:00New York: The Metropolitan Museum of Art<!--[if !mso]>
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<u>Origins of the Metropolitan.</u></div>
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The Metropolitan Museum was founded in 1870, but its initial
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the Douglas Mansion on 14<sup>th</sup> St. Finally it moved in 1880 to its
present location in Central Park overseen by the board of trustees. The Met was
housed in a building designed by the architect Camille Vaux, who had helped to
design Central Park itself.<span style="mso-spacerun: yes;"> </span>In 1871, 174
paintings were acquired by the museum. to be located in the City of New York,
for the purpose of establishing and maintaining in said city a Museum and
library of art for “encouraging and developing the study of the fine arts, and
the application of arts to manufacture and practical life, of advancing the
general knowledge of kindred subjects, and, to that end, of furnishing popular
instruction.” Over time this has expanded into the greatest art collection in
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<u>The Greatest of all American Museums.</u></div>
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Hunt & Richard Howland Hunt.</div>
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As Robert Hughes rightly points out, the nearest equivalent
to the Metropolitan Museum in New York is the British Museum in London.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
With the exception of painting, it is a good parallel, because both museums
possess immeasurable examples of art from all corners of the world, as well as
a huge repository of drawings and prints. Then there are the imperialist
underpinnings. If the British Museum represents the accumulation of “imperial
plunder” the Met could be seen as America’s “imperial treasure house” into
which religious and secular images of all nations has been poured, thus confirming
the triumph of American capital and ambition over world cultures. A more charitable view would be that it gives visitors the opportunity to enjoy and learn about the world's different cultures as well as appreciating America's place within that narrative. With its
millions of objects, the Met is “an extraordinary crystallisation of America’s
origins,” to use Hughes’s words again. <span style="mso-spacerun: yes;">It is magnificent in all senses too. </span>Stepping into the entrance hall of the Met,
created by <a href="http://en.wikipedia.org/wiki/Richard_Morris_Hunt" target="_blank">Richard Morris Hunt</a>, the grandeur of the “gilded age” is almost
palpable. Hunt was the first architect to train at the Beaux-Arts in Paris, and
his classical knowledge was put to good use in the entrance hall which is based
on the <a href="http://www.aviewoncities.com/rome/bathsofcaracalla.htm" target="_blank">Baths of Caracalla</a>. This gigantic space was finished by Hunt’s son,
Richard Howland Hunt in 1902. By the 1970s, Hunt’s creation was showing signs
of age, the needs of the museum were changing, and thus the Met embarked upon
its “master plan overseen by a previous director Thomas Hoving, in 1971.” <a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
As his successor Phillipe de Montebello (in tenure for 30 years) explains, subsequent
donations, bequests and projects have guided the future direction of the
museum. Amongst these were the opening of the <a href="http://www.metmuseum.org/en/about-the-museum/museum-departments/curatorial-departments/the-robert-lehman-collection" target="_blank">Robert Lehman Wing</a> in 1975, a
glass pyramidal structure with a central court and a surrounding two-storey
space. Lehman, an American banker built up his collection over 60 years; after his death in 1969 the Lehman Foundation donated over 3,000
works to the Met including portraits by Ingres. Mention should also be made of
the Wrightsman Collection. <a href="http://www.nytimes.com/1986/05/28/obituaries/charles-bierer-wrightsman-philanthropist-is-dead-at-90.html" target="_blank">Charles B. Wrightsman </a>was an oil executive who
donated many fine works to the museum including Gerard David, El Greco, La
Tour, Tiepolo, Rubens and J.L. David.<span style="mso-spacerun: yes;">
</span>Montebello was succeeded by the British renaissance scholar <a href="http://www.ted.com/speakers/thomas_p_campbell.html" target="_blank">Thomas Campbell</a> in 2009. Realising the net’s great potential, Campbell has enthusiastically
surfed the digital revolution wave with <a href="http://www.ted.com/talks/thomas_p_campbell_weaving_narratives_in_museum_galleries.html" target="_blank">lectures </a>on curating and art on TED<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
,as well as increasing free content on the museum’s website, one of the best in
the world. In addition to providing generous hi-resolution images, the museum’s
<a href="http://www.metmuseum.org/en/about-the-museum/now-at-the-met/features/2013/mma-bulletins" target="_blank">Bulletin</a>, many out of print catalogues and publications are freely available for
download. Additionally, a virtual <a href="http://www.metmuseum.org/toah/" target="_blank">timeline </a>has been created with hundreds of
essays on art. Back on terra firma, the Met continues to attend
auctions, follow the markets and <a href="http://www.blogger.com/">pursue acquisitions</a> backed up by a highly
regarded curatorial team, not to mention money. Through collaborative shows,
travelling exhibitions, traveling works of art, conservation projects,
fellowships and exchanges, the Met has truly become a <a href="http://www.metmuseum.org/met-around-the-world/" target="_blank">global operation</a>. </div>
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<br /></div>
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<u>Organization of European Paintings at the Met.</u></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHjuxaOTjHUF5_T7MafGHKkSAOgPplz3y85XnAc-YcjQh2J-ABpmaIamN9aPHXgHzv68NAFgDHo8brpHDUba-nqfMMtcr2C9Lc_HikxzqESCEkeGr4kU5SitbgMbnU7320QXYLpivYKQQ-/s1600/DT5279.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHjuxaOTjHUF5_T7MafGHKkSAOgPplz3y85XnAc-YcjQh2J-ABpmaIamN9aPHXgHzv68NAFgDHo8brpHDUba-nqfMMtcr2C9Lc_HikxzqESCEkeGr4kU5SitbgMbnU7320QXYLpivYKQQ-/s640/DT5279.jpg" width="432" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Berlinghiero , Madonna and Child, tempera on
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMtR_3rml6xIAxMiAV8zcRC7O4hALqCkkljN8BNwLYHxj8dT7N5o3UmnCFVI3MIyThz34LipcbcL-x4ScGJ-5OVp16VIkFkuY54-LXuOyO2r5XLSQhr5iKQ-w8LcVFCawDwVE-4tE8UeCJ/s1600/DP167124.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMtR_3rml6xIAxMiAV8zcRC7O4hALqCkkljN8BNwLYHxj8dT7N5o3UmnCFVI3MIyThz34LipcbcL-x4ScGJ-5OVp16VIkFkuY54-LXuOyO2r5XLSQhr5iKQ-w8LcVFCawDwVE-4tE8UeCJ/s640/DP167124.jpg" width="498" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Paolo Veronese, Venus, Mars united by Cupid,
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Although a group of paintings had been brought from Paris and
Brussels in 1871 to the Metropolitan, the Division of Paintings wasn’t
established until 1886. Moreover, it wasn’t strictly a collection of paintings
as it included drawings, watercolours, prints, photographs and textiles. The
diversity of the original collection led to the creation of appropriate
different departments, with this process of specialization continued by the ongoing
acquisition of art from varied cultures and civilizations.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
Where painting was concerned, the most significant part of this process was the
separation of European from American schools, which leaves fifteen other
divisions of art in the museum, including drawing and photography. <span style="mso-spacerun: yes;"> </span>All the major European schools are represented
with Italian, French and Dutch holdings the most impressive. Chronologically,
Italian renaissance art runs from lesser known masters like Berlingiheri’s <span style="mso-spacerun: yes;"> </span><u>Madonna</u> ( more on him and Byzantine art <a href="http://histflorence.blogspot.co.uk/2013/01/cimabue-and-byzantine-influence.html" target="_blank">here</a>) to sumptuous masterpieces like
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhODDxPJOM2YK0QAHBf8fjBSHrPKlAs3YISts7syuyLk5P0W0Jm-MGbBF2b9q2EwzBGvxpBhp8q7PZzOqeKdlRQtBT1T6OA_eh2afA28X16d-NwRejpIj1GJZ_oc6Km3A1gqCMiR_5pBsOo/s1600/co.ep.52.81_11.1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhODDxPJOM2YK0QAHBf8fjBSHrPKlAs3YISts7syuyLk5P0W0Jm-MGbBF2b9q2EwzBGvxpBhp8q7PZzOqeKdlRQtBT1T6OA_eh2afA28X16d-NwRejpIj1GJZ_oc6Km3A1gqCMiR_5pBsOo/s640/co.ep.52.81_11.1.jpg" width="640" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Caravaggio, The Musicians, c. 1595, oil on
canvas, 92.1 x 118.4 cm, Rogers Fund, 1952.</div>
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Due to the bias against Italian baroque art, it wasn’t until recently that this
area was taken seriously; this really started with the bequeathing of
Caravaggio’s <u>Musicians</u> in 1952, which led to a less “serendipitous” and more
systematic approach towards collecting baroque art.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
<span style="mso-spacerun: yes;"> </span>Prior to Caravaggio, and marking a
bridge between Veronese and Caravaggio, we could cite Barocci’s <u>St Francis</u>
bought by the museum in 2003. Turning away from Italian to Dutch and Flemish,
these holdings are very impressive. Amongst these schools can be found exemplary
canvases like Rembrandt’s <a href="http://www.rembrandtdatabase.org/Rembrandt/painting/53707/aristotle-with-a-bust-of-homer" target="_blank"><u>Aristotle with the Bust of Homer</u>,</a> and
Vermeer’s <a href="http://www.essentialvermeer.com/catalogue/young_woman_with_a_water_pitcher.html" target="_blank"><u>Servant Girl by a Window</u>,</a> one of five of the master’s pictures
that the museum owns. The French Masters of the 17<sup>th</sup> century are
particularly well represented here: Poussin, Claude, George de La Tour’s <u>Penitent
Magdalene</u> from the Wrightsman Collection, David, Ingres’s <u>Madame Leblanc</u>
from the Lehman Collection. Realism and French Impressionism is very much in
evidence with such works as Corot’s <u>Ville de Avray</u> and Monet’s <u>Terrace
at St Addresse</u>. The Met possess a wonderful collection of Flemish painting
as well as German. Some of the jewels to be found here are Van Eyck’s <u>Crucifixion/Last
Judgment</u> and Pieter Brughel’s <u>The Harvesters</u>.<span style="mso-spacerun: yes;"> </span>There are very fine paintings by Rubens and
Van Dyck, such as the former’s <u>Rubens and his Family</u>. German
masterpieces to look out for include Cranach’s <u>Judgement of Paris</u>.
Though Spanish art is not as plentiful as the previous schools, it makes up for
it in quality. Two outstanding examples of Spanish painting include El Greco’s <u>View
of Toledo</u> and Velasquez’s <u>Juan de Paraja</u> portrait. English painting
here is mainly 18<sup>th</sup> century and early 19<sup>th</sup> century with
the likes of Gainsborough, Reynolds, Hogarth and Lawrence. There are
interesting stylistic cross-overs between English and American portraits, e.g.
Thomas Sully’s ravishing oil sketch of Queen Victoria. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjnckUM2M0XBy2zwCICHmJm64x6L1zRrxwGXOuYxj9aDcZEVzryU_TYnOVvoGLNtZm-ZwiOcsUirtBjBIu3CeI8-B7WDnAs4im_ljxGDVoLzXzlt3Ublb4Nmery-uQr_2cg3uxUIEtBiy/s1600/co.ep.1971.86_16.1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAjnckUM2M0XBy2zwCICHmJm64x6L1zRrxwGXOuYxj9aDcZEVzryU_TYnOVvoGLNtZm-ZwiOcsUirtBjBIu3CeI8-B7WDnAs4im_ljxGDVoLzXzlt3Ublb4Nmery-uQr_2cg3uxUIEtBiy/s640/co.ep.1971.86_16.1.jpg" width="550" /></a></td></tr>
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When the Met was formed back in 1870, it was stated that New
York City and the Nation “required an extensive public gallery to contain the
greater works of our painters and sculptors.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a>
<span style="mso-spacerun: yes;"> </span>From 1870 to 1906 the growth of
collection depended mainly on gifts and bequests from such collectors as John S
Kennedy, H.O. Havemeyer and Morris K. Jessup. Today, the American pictures
number about 1,250 and include 625 artists both distinguished and little known
or identified.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn7" name="_ftnref7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a> An
American wing was opened in 1924, and in 1949 a Department of American Painting
and Sculpture was formed; in 1967, the works of artists born after 1875 came
under the jurisdiction of the newly created Department of Twentieth Century
Art.<span style="mso-spacerun: yes;"> </span>In 1980 a <a href="http://www.metmuseum.org/collections/new-installations/american-wing" target="_blank">new American wing</a> was
inaugurated after much re-construction and renovation, in order to combine
under one roof American paintings, sculpture and decorative art. This was further refurbished in 2012. There seems no
need to dispute the Met’s claim that their collection of American art is
probably the finest in the country, illustrating all American art from
miniatures done in the colonial period to examples of abstract expressionism.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a>
The founders of American art are in evidence (West and his school, Copley,
Pratt and Stuart), 19<sup>th</sup> century landscape artists such as Cole, Bierstadt, local customs and historical narrative in Bingham and Leutze (<a href="http://www.metmuseum.org/collections/new-installations/american-wing/video-and-audio" target="_blank">lecture</a>) and all shades of American modern art are represented from Hopper to
Pollock. </div>
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<br /></div>
<div class="MsoNormal">
<u>Slides.</u></div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Photograph of the Metropolitan Museum.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Great Hall of the Met, architect Richard Morris
Hunt & Richard Howland Hunt.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Berlinghiero , Madonna and Child, tempera on
wood, gold ground, Overall 80.3 x 53.7 cm; painted surface, 76.2 x 49.5 cm, Gift
of Irma N. Straus, 1960. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Correggio, Saints Peter, Martha, Mary Magdalen,
and Leonard, oil on canvas, 221.6 x 161.9 cm, John Stewart Kennedy Fund, 1912.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Paolo Veronese, Venus, Mars united by Cupid,
1570, oil on canvas, 205.7 x 161 cm, (John Stewart Kennedy Fund, 1910.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Barocci, St Francis, c. 1600-4, oil on canvas, 89.9
x 78.4 cm; with added strips, 91.1 x 79.7 cm, purchase, Lila Acheson Wallace
Gift and 2002 Benefit Fund, 2003. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Caravaggio, The Musicians, c. 1595, oil on
canvas, 92.1 x 118.4 cm, Rogers Fund, 1952.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, Aristotle with the Bust of Homer, 1653,
oil on canvas, 143.5 x 136.5 cm, purchase, special contributions and funds
given or bequeathed by friends of the Museum, 1961.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Vermeer, Servant Girl at a Window, 1662, oil on
canvas, 45.7 x 40.6 cm, Marquand Collection, Gift of Henry G. Marquand, 1889.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Velasquez, Juan de Parejo, 1650, oil on canvas,
81.3 x 69.9 cm, purchase, Fletcher and Rogers Funds, and Bequest of Miss
Adelaide Milton de Groot (1876–1967), by exchange, supplemented by gifts from
friends of the Museum, 1971. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>El Greco, View of Toledo, oil on canvas, 121.3 x
108.6 cm, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Picasso, Seated Harlequinn, 1901, Oil on canvas,
lined and mounted to a sheet of pressed cork, 83.2 x 61.3 cm, purchase, Mr. and
Mrs. John L. Loeb Gift, 1960.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Lucas Cranach, Judgment of Paris, c. 1528, oil
on wood, 101.9 x 71.1cm, Rogers Fund, 1928.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Peter Paul Rubens, Rubens, His Wife Helena
Fourment (1614–1673), and Their Son Frans (1633–1678), c. 1635, oil on wood,
203.8 x 158.1 cm, Gift of Mr. and Mrs. Charles Wrightsman, in honour of Sir
John Pope-Hennessy, 1981.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>George de La Tour, Penitent Magdalene aka “The
Magdalene with Two Flames”, c. 1640-44, Oil on canvas, 133.4 x 102.2 cm), Gift
of Mr. and Mrs. Charles Wrightsman, 1978.<br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Ingres,<span style="mso-spacerun: yes;"> </span>Joséphine-Éléonore-Marie-Pauline de Galard de
Brassac de Béarn, 1851-3, oil on canvas, 121.3 x 90.8 cm, Robert Lehman
Collection, 1975. </span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Corot, Ville de Avray, 1870, Oil on canvas, 54.9
x 80 cm, Catharine Lorillard Wolfe Collection, Bequest of Catharine Lorillard
Wolfe, 1887. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Monet, Terasse at St Addresse, 1867, oil on
canvas, 98.1 x 129.9 cm, Purchase, special contributions and funds given or
bequeathed by friends of the Museum, 1967.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Henri Matisse, Nasturtiums with the Painting,
“Dance 1”, 1912, oil on canvas, 191.8 x 115.3cm, Bequest of Scofield Thayer,
1982. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Matthew Pratt, The American School, 1765, oil on
canvas, 91.4 x 127.6 cm, Gift of Samuel P. Avery, 1897. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Samuel F.B. Morse, Susan Walker Morse (The
Muse), 1836-7, oil on canvas, 187.3 x 146.4 cm, Bequest of Herbert L. Pratt,
1945. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Thomas Cole, View from Mount Holyoake,
Northampton, Massachusetts after a Thunderstorm- An Oxbow Lake, 1836, oil on
canvas, 130.8 x 193 cm, Gift of Mrs. Russell Sage, 1908.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Thomas Sully, Queen Victoria, 1838, oil on
canvas, 91.4 x 71.5 cm, Bequest of Francis T. Sully Darley, 1914.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>George Caleb Bingham, Fur Traders Crossing the
Missouri, 1845, 73.7 x 92.7 cm, Morris K. Jessop Fund.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Emanuel Leutze, Washington crossing the Delaware
River, 1851, oil on canvas, 378.5 x 647.7 cm, Gift of John Stewart Kennedy, NY,
1897. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Albert Bierstadt, The Rocky Mountains: Lander’s
Peak, 1863,oil on canvas, 186.7 x 306.7 cm, <span style="mso-spacerun: yes;"> </span>Rogers Fund, 1907.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Thomas Eakins, The Champion Single Sculls (Max
Schmitt in a Single Scull), 1871, oil on canvas, <span style="mso-spacerun: yes;"> </span>81.9 x 117.5 cm, Purchase, The Alfred N.
Punnett Endowment Fund and George D. Pratt Gift, 1934. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Edward Hopper, The Lighthouse at Two Lights, 1929,
oil on canvas, 74.9 x 109.9 cm, Hugh Kastor Fund.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">29)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jackson Pollock, Autumn Rhythm, 1950, Enamel on
canvas, 266.7 x 525.8cm, George A. Hearn Fund, 1957. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">30)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Plaque, The Vocation of Peter and Andrew, England,
c. 1170-1180, Champleve, Enameled, Engraved and Gilded, Copper - 8.6 x 12.4 cm,
French art market, 2013.
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Robert Hughes, <u>American Visions</u>, 3.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
For the Met’s master plans 1970 onwards, see Phillipe de Montebello’s <a href="http://www.metmuseum.org/research/metpublications/The_Met_and_the_New_Millennium_The_Metropolitan_Museum_of_Art_Bulletin_v_52_no_1_Summer_1994" target="_blank">report</a>“The Met and the New Millennium” <u>The Metropolitan Museum of Art Bulletin</u>,
v, 52, no. 1 Summer, 1994.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> http://www.ted.com/talks/thomas_p_campbell_weaving_narratives_in_museum_galleries.html<a href="http://www.ted.com/talks/thomas_p_campbell_weaving_narratives_in_museum_galleries.html" target="_blank">http://www.ted.com/talks/thomas_p_campbell_weaving_narratives_in_museum_galleries.html</a></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> <u>Guide
to the Metropolitan Museum</u>, 122.</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
See Keith Christiansen, “<a href="http://www.metmuseum.org/research/metpublications/Going_for_Baroque_Bringing_17th_Century_Masters_to_the_Met_The_Metropolitan_Museum_of_Art_Bulletin_v_62_no_3_Winter_2005" target="_blank">Going for Baroque: </a>Bringing 17<sup>th</sup> Century
Masters to the Met Museum”, <u>The Metropolitan Museum of Art Bulletin</u>, 62
(Winter 2005). </div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a> <u><a href="http://www.metmuseum.org/research/metpublications/American_Paintings_in_The_Metropolitan_Museum_of_Art_Vol_1_A_Catalogue_of_Works_by_Artists_Born_by" target="_blank">Catalogue</a> of American Paintings in the Metropolitan Museum</u>, 2 vols, I, ix, Met
Publications, </div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
Ibid, VII. </div>
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<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a> <u><a href="http://www.metmuseum.org/research/metpublications/Guide_to_The_Metropolitan_Museum_of_Art_1972" target="_blank">Guide</a> to the Metropolitan Museum</u>, 10. </div>
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If collecting tendencies at the MFA resemble a kaleidoscope,
than art acquisition at the Isabella Stewart Gardner Museum might be compared
to a telescope trained on one particular object: the Italian renaissance. The
daughter of David Stewart who made his fortune in Irish linen and mining
investments, Isabella was the first American collector to hit on the idea of
housing valuable works of art in a palatial setting.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Although she was very rich, Isabella was not in the class of what Mary Berenson
called the “squillionaires” like J.P.Morgan, Henry Clay Frick, and Cornelius
Vanderbilt. Moreover, unlike those magnates, she had come under the influence
of Harvard connected scholars like <a href="http://www.dictionaryofarthistorians.org/nortonc.htm" target="_blank">Charles Eliot Norton </a>who supervised her
reading of Dante’s <i style="mso-bidi-font-style: normal;">Inferno</i> and <i style="mso-bidi-font-style: normal;">Purgatorio</i>, and who seems to have been
instrumental in bringing Isabella and Berenson together at a Dante lecture, probably
1886, though Norton held negative views towards the young Jewish scholar.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
In the broader context of American artistic culture, Norton was important
because he sought to civilise a go-getting society represented by Morgan and
co, and stem the tide of “modern materialism.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
Ironically, he also may have set the stage for the wholesale plunder of European art with
the American cheque book, to recall a phrase from Henry James. From 1894 Isabella
was advised by Bernard Berenson who came to Harvard in 1884, and who along with
wealthy taste makers like Henry James and Edith Wharton, had all been greatly
affected by writers in Europe like Walter Pater and Oscar Wilde, authors appealing
particularly to the feminine community of Boston.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
As a letter to Isabella proves, Berenson read Pater’s <i style="mso-bidi-font-style: normal;">The Renaissance</i> avidly and soaked up its atmosphere of dreamy
aestheticism much to Norton’s disgust. Reading Pater and studying Italian
renaissance art helped Berenson to form what he believed to be “good taste”
which he used to penetrate the upper reaches of Boston society, and to subsequently
direct its aesthetic education from his villa in Italy. Berenson was part of
the new cognoscenti who had no problem with the acquisitiveness of the super-rich since his livelihood depended on it, but he sought to make them
cognoscenti, those in the know. If there is a paradigm for Isabella’s
collecting and her museum, and others like her, it is the turning of American
plutocrats into discerning connoisseurs, which she undoubtedly became with
Berenson’s and other’s help. </div>
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<b style="mso-bidi-font-weight: normal;"><u>“Lady Isabella of Fenway
Court”.</u></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtrXDZQS4VSo-AaU3jTbfoGJ8xsWUMcFp1fWOJAiuikahqnCaproljvjhRGo0Cgrs_5f_SymuCeK5DPoX8U-fM96zxgln5sy65m3GQxLlxsNVKNZ86srM9Q-Cn_p6ameAigXj468ghMJV4/s1600/ISGardnerMuseum.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtrXDZQS4VSo-AaU3jTbfoGJ8xsWUMcFp1fWOJAiuikahqnCaproljvjhRGo0Cgrs_5f_SymuCeK5DPoX8U-fM96zxgln5sy65m3GQxLlxsNVKNZ86srM9Q-Cn_p6ameAigXj468ghMJV4/s640/ISGardnerMuseum.JPG" width="640" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Gi_QStowkdOWUJ1ixC3u3gqjCWkyAi2Zv6SW2m_dm2MB4txUw2P66CDwb0p3-eV-hmaWJcwIJ3JNtKTwfjwATLlk4LjElzCzPScBAgocIgBFroKqbw9QpArQpo0EdiQMqETCLaH3hrTY/s1600/Venezia_-_Palazzo_Barbaro_sul_Canal_Grande.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Gi_QStowkdOWUJ1ixC3u3gqjCWkyAi2Zv6SW2m_dm2MB4txUw2P66CDwb0p3-eV-hmaWJcwIJ3JNtKTwfjwATLlk4LjElzCzPScBAgocIgBFroKqbw9QpArQpo0EdiQMqETCLaH3hrTY/s640/Venezia_-_Palazzo_Barbaro_sul_Canal_Grande.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Palazzo Barbaro, Venice. </td></tr>
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With her purchase of a Rembrandt <u>Self-Portrait</u>, a
Titian and a Velazquez, all in 1896, Isabella and her husband Jack sought a
new site for the growing collection. This turned out to be Fenway Court, in a
newly designed area of Boston. Fenway Court was the name for the museum during
ISG’s lifetime, a building that adhered to renaissance building principles with
the bedrock more than 90 feet down (in accordance with a Venetian palazzo).<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
With the tragic death of her husband Jack in 1898, Isabella threw herself into
the construction of her museum, which she oversaw in every detail right down to
the plumbing and plastering! Having inherited $1.75 million from her father,
Isabella was able to travel extensively, experience different cultures, and
most importantly continue to build up a distinctive collection of art to house in her palace.<span style="mso-spacerun: yes;"> </span>In her mission Isabella was helped by a
number of knowledgeable scholars, connoisseurs including Berenson who became
her chief advisor, although as Goldfarb points out, Isabella had an independent mind
and didn’t always follow Berenson’s advice as in the case of a Watteau the
scholar wanted her to buy. Berenson would seek new wealthy patrons when his
relationship with Isabella became strained and she reduced her purchases.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a>
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<tr><td class="tr-caption" style="text-align: center;">Courtyard, ISGM</td></tr>
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An interesting strand of scholarship has appeared about the origins of Isabella’s
Fenway Court in recent years. Robert Colby has argued that the building was an “expression
of cultural re-enchantment” linked with the romantic proclivities of
individuals in Berenson’s Florentine circle.<a href="http://berenson.itatti.harvard.edu/berenson/items/show/3023" name="_ftn7" style="mso-footnote-id: ftn7;" target="_blank" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span></div>
Partly as result of visiting the monastery of <a href="http://en.wikipedia.org/wiki/Territorial_Abbey_of_Monte_Oliveto_Maggiore" target="_blank">Monte Oliveto</a>, and partly as the
need to create a space into which the world did not rudely intrude, Berenson
and his associates dreamt up an imaginary community, Altamura. The phrase means
“high walls” and the architectural nature of Gardner’s new palace may indicate
the influence of “Altamura”, a realm of aesthetic contentment inhabited by a cultural
elite. Wether true or not, Gardner’s own version of “Altamura” would lose its privileged
status and open to the public in 1902. <span style="mso-spacerun: yes;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEZ0f5IZdzpWCQyiB30AWl1alNK7dKYo4cn9O4QUCH3P4J-c3sXBx6jbabVKu9o8Y2wgiZWBO-H631spCAOYggZ9LkRdcZlnyq_BpAcZLonkEz3uugPgyyVKZfZ4o-mN_F6OGyaufn9suv/s1600/2856.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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<u>Assessing the Gardner Holdings. </u></div>
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<br /></div>
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The main strengths of the ISGM are its renaissance paintings
and drawings, most of which were acquired with Berenson’s help. With the
exception of Leonardo, all the major high renaissance painters like Botticelli,
Titian, Raphael, and Michelangelo are present. Amongst the paintings Berenson
helped Isabella secure were Botticelli’s <u>Tragedy of Lucretia</u>,
in the <a href="http://www.gardnermuseum.org/collection/browse?filter=room:1799" target="_blank">Raphael Room</a> “establishing the direction and desired quality of future acquisitions.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn8" name="_ftnref8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a>
Eventually this collection would include the most important renaissance
artists: Raphael (an early <u>Pietà </u>and a drawing), Michelangelo (the best of her drawings, another <u>Pietà</u>,
for Vittoria Colonna). These drawings include works by Raphael, Fillippo Lippi,
Bronzino, even Matisse, all kept in cabinets. The most celebrated
renaissance painting is by Titian, his <u>Rape of Europa</u> which hangs in a
<a href="http://www.gardnermuseum.org/collection/browse?filter=room:1807" target="_blank">room </a>on the top floor of the museum, to some the greatest Venetian painting in
America. Rubens declared it “the greatest painting in the world” though not
everybody was convinced at first. But as Isabella famously said to Berenson who helped get it from Lord Darnley: “''Many
came with 'grave doubts,' many came to scoff, but all wallowed at her feet…” There
is also an Early Italian room, home to works by Piero della Francesca, Simone
Martini, Daddi, Giovanni di Paolo, Lorenzetti and Fra Angelico.<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitdp_6ZlE6587ND-WO688emI9UdmWbsGkt70UoL0w0_kWzznApmpKSR0V6hP3Cpbu1nvlAr0AlQpbYdHLruK_UWvQa_YWhILvMIg83KUhsoE_0XHIDuP0ccMzLoUhBuwhv4_evYnsBR4MP/s1600/Tizian_085.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitdp_6ZlE6587ND-WO688emI9UdmWbsGkt70UoL0w0_kWzznApmpKSR0V6hP3Cpbu1nvlAr0AlQpbYdHLruK_UWvQa_YWhILvMIg83KUhsoE_0XHIDuP0ccMzLoUhBuwhv4_evYnsBR4MP/s640/Tizian_085.jpg" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPekaNXq6xOQUplx5-ZRVsbotAeWc4rFrMRE1hrgbg71rpn0C5_URrxMG-xinGOq0YXQeyJR08S2gnFB0UvuOz0PT8FOHhzTsdV7032ePcNZ24U0k-XXJwX7Rhej_pcfn60c0VA_WfJlY/s1600/EL_JALEO-SINGER.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPekaNXq6xOQUplx5-ZRVsbotAeWc4rFrMRE1hrgbg71rpn0C5_URrxMG-xinGOq0YXQeyJR08S2gnFB0UvuOz0PT8FOHhzTsdV7032ePcNZ24U0k-XXJwX7Rhej_pcfn60c0VA_WfJlY/s640/EL_JALEO-SINGER.jpg" width="640" /></a></td></tr>
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acq about 1914), 1882, oil on canvas, 237 × 352 cm.</div>
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Isabella’s <a href="http://www.gardnermuseum.org/collection/browse?filter=room:1804" target="_blank">Dutch room</a> is considered a highpoint, but sadly
the <a href="http://www.yourbrushwiththelaw.com/intro.htm" target="_blank">theft </a>of Rembrandt’s <u>Storm on the Sea of Galilee</u> and Vermeer’s <u>Concert</u>
has cast a shadow over the patron’s achievement. On the night of March 18<sup>th</sup>,
1990, thieves masquerading as police officers stole 13 works of art. Rembrandt’s
<u>Self-Portrait</u> remains and other fine likenesses like Rubens’s portraits
of Lord Arundel and a Van Dyck portrait. More modern work can be found on the
ground floor where works hang, some executed by painters living in Isabella’s
own time. The <a href="http://www.gardnermuseum.org/collection/browse?filter=room:1793" target="_blank">Yellow Room</a> has two Whistlers, a mournful Degas <u>Portrait of
Mme. Gaujelin</u>, and the work that gives the room its name, the American
artist Dewing’s <u>Lady in Yellow</u>. Other highlights include a portrait by
Manet of his mother in the <a href="http://www.gardnermuseum.org/collection/browse?filter=room:1795" target="_blank">Macknight Room</a>, and in the <a href="http://www.gardnermuseum.org/collection/browse?filter=room:1796" target="_blank">Spanish Cloister</a>, in an
installation created especially for it, resides John Singer Sargent’s evocation
of Spanish passion and music, <u>El Jaleo</u>. A passion for art certainly
motivated its owner, an imperious woman who read rare editions of Dante,
collected renaissance treasures, and wore hats proclaiming her support for the
Boston Red Sox baseball team!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><u>Slides</u></b></div>
<div class="MsoNormal">
<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Exterior View of Isabella Stewart Gardner
Museum, Fenway, Boston. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John Singer Sargeant, Isabella Stewart Gardner,
1888, (Gothic Room, ISG cm 1888), oil on canvas, 190 x 80 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Bernard and Mary Berenson, postcard showing BB
at 21/Harvard 1887 and 71/Settignano, I Tatti archives, Gelatin<span style="mso-spacerun: yes;"> </span>silver process on paper, 135 x 84 mm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Botticelli, The Story of Lucretia, 1496-1504,
Tempera and oil on panel, 84 x 180 cm,(Raphael Room, ISG).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Raphael, Pietà, c. 1503, Oil on wood, 23.5 x
28.8 cm, (Raphael Room, ISG, bt. on BB’s advice).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Michelangelo, Pietà, (Short Gallery ISG ) c.
1538, Black chalk, 295 x 195 mm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rembrandt, Storm on the Sea of Galilee, (Dutch Room,
ISG, stolen in 1990), <span style="mso-spacerun: yes;"> </span>1633, Oil on
canvas, 160 x 128 cm<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jan Vermeer, The Concert, (Dutch Room, ISG,
stolen in 1990), 1665-66, Oil on canvas, 69 x 63 cm. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Titian, The Rape of Europa, (Titian Room, ISG,
acq 1896), oil on canvas, <span style="mso-spacerun: yes;"> </span>178 × 205 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Thomas Wilmer Dewing, Lady in Yellow, 1888,
(Yellow Room, ISG, acq 1888), oil on wood, 50. 2 x 40 cms.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Degas, Mme Gaujelin, 1867, (Yellow Room, ISG,
acq 1904) ,Oil on canvas, 61.2 x 45.7 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>James McNeil Whistler, Harmony in Blue and
Silver: Trouville, 1865, oil on canvas, (Yellow Room, ISG), 49.5 x 75.5 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John Singer Sargeant, El Jaleo, (Cloisters, ISG,
acq about 1914), 1882, oil on canvas, 237 × 352 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Anders Zorn, Mrs Gardner in Venice, 1894, (Short
Gallery, ISG pt in Venice same year)), oil on canvas, 91 x 66 cm.<br />
<br />
<br />
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Hilliard T. Goldfarb, <u>The Isabella Stewart Gardner Museum</u>, (Yale
University Press, 1995), 3.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Rachel Cohen, “Bernard Berenson at Harvard.” <a href="http://berenson.itatti.harvard.edu/berenson/items/show/3022">http://berenson.itatti.harvard.edu/berenson/items/show/3022</a></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> See
the illuminating discussion in John Brewer, <u>The American Leonardo: A 20<sup>th</sup>
Century Tale of Obsession, Art and Mon</u>ey, 2009, 27. See also my <a href="http://artintheblood.typepad.com/art_history_today/2011/12/connoisseurship-on-trail-book-review-john-brewer-the-american-leonardo-a-twentieth-century-tale-of-obsession-art-and-mon.html" target="_blank">review </a>of
the book on AHT.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
For the influence of Wilde on the American art scene, see Sarah Burns, <u>Inventing
the Modern Artist: Art and Culture in Gilded Age America (</u>Yale, 1996).</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a> Goldfarb,
<u>The Isabella Stewart Gardner Museum</u>, 16.</div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a> Brewer,
<u>The American Leonardo</u>, 79-80.</div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://berenson.itatti.harvard.edu/berenson/items/show/3023" name="_ftn7" style="mso-footnote-id: ftn7;" target="_blank" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span></span></span></a>
Robert Colby whose essay “Places Eternal and Serene: The Vision of Altamura and
Isabella Stewart Gardner’s Fenway Court” can be found <a href="http://berenson.itatti.harvard.edu/berenson/items/show/3023" target="_blank">here</a>. </div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span></span></span></a> Goldfarb,
<u>The Isabella Stewart Gardner Museum</u>, <span style="mso-spacerun: yes;"> </span>68.</div>
</div>
</div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7794919694945333232.post-18006892395588602122013-10-03T11:59:00.000-07:002013-10-03T11:59:41.812-07:00Boston: Museum of Fine Arts (MFA)<!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;"><u>Aesthetics, Art
and the MFA in Boston.</u></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ck2ujHRHkLmELloRJ4i7rdsFAi0g0yIisD2npd40tASfUknhMOc-CyOFmt7KyIIUYu5JCEGKh9SqHINfGRvfFj1LofAJ9APlDOt3zj-Pf84hXAh2z5-HvFtZ3J0eMwfD5J8djB5lkC-3/s1600/1luke.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ck2ujHRHkLmELloRJ4i7rdsFAi0g0yIisD2npd40tASfUknhMOc-CyOFmt7KyIIUYu5JCEGKh9SqHINfGRvfFj1LofAJ9APlDOt3zj-Pf84hXAh2z5-HvFtZ3J0eMwfD5J8djB5lkC-3/s640/1luke.jpg" width="502" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG3Qmox0xcJpXAN6nwaJOWKD5ehUep0b4WyEKt1v6FzTW6j72ZFg_OeXSAUf6p-DMLhwvj4-Tbm4lWPyyeJT-eDuRAmYEW6gY-k0m7xfBdjPxl_9wwrmbefYkIUdqiCzpkVtsYXRfHWdbl/s1600/Henry_Lee_Higginson_by_John_Singer_Sargent_1903.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG3Qmox0xcJpXAN6nwaJOWKD5ehUep0b4WyEKt1v6FzTW6j72ZFg_OeXSAUf6p-DMLhwvj4-Tbm4lWPyyeJT-eDuRAmYEW6gY-k0m7xfBdjPxl_9wwrmbefYkIUdqiCzpkVtsYXRfHWdbl/s640/Henry_Lee_Higginson_by_John_Singer_Sargent_1903.jpeg" width="394" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Singer Sargent, Henry Lee Higginson, 1903, original hangs at Barker Center, Harvard U. and a copy by Sargent’s students hangs in Symphony Hall, Boston</td></tr>
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Appreciation of the arts in Boston has a long history. The
ascendancy of art in Boston was due to a number of factors, but is primarily
bound up with the organizational elite’s efforts to negotiate between “a public
high culture” and mass entertainment.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Businessmen like the head of a brokerage firm, <a href="http://en.wikipedia.org/wiki/Henry_Lee_Higginson" target="_blank">Henry Lee Higginson</a>, who would
donate his Rogier van der Weyden to the MFA, dropped out of Harvard and travelled
in Europe where he was educated in Italian art and opera; but he had also
attended informal, popular art events in the city. There were museums in Boston
before the Civil War. The Boston Museum, which was founded in the 1840s, showed
fine art next to popular entertainment spectacles, but by the end of the
century, high culture, predominantly visual art and music, would be disseminated
via what DiMaggio calls the “non-profit corporation” composed of trustees from
the <a href="http://www.slate.com/articles/news_and_politics/explainer/2004/03/whats_a_boston_brahmin.html" target="_blank">“Boston Brahmin” </a>class who would usually delegate tasks to professional
artists or art historians. Institutions like the Boston Symphony Orchestra (which
Higginson helped to found) and the MFA provided a “framework for the definition
of high art” in Boston. <a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Education played no little part in this project because museums enabled the
masses to discriminate between vulgar and fine art which was the objective of
the Boston Brahmins who created the cultural infrastructure in Boston. </div>
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The Brahmins, a name taken from the caste system in India,
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<tr><td class="tr-caption" style="text-align: center;">View of the Boston MFA (Museum of Fine Arts), Huntingdon Avenue, photograph
2006.</td></tr>
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This ethos of public virtue and civic duty was also enshrined
in the institutions and buildings in Boston. This genteel city can
boast architecture of distinction: H.H. Richardson’s the <a href="http://www.aviewoncities.com/boston/trinitychurch.htm" target="_blank">Trinity Church</a>
decorated by John La Farge; McKim, Mead and White’s <a href="http://en.wikipedia.org/wiki/Boston_Public_Library,_McKim_Building" target="_blank">Public Library</a>, modelled on
Alberti’s renaissance designs; and of course the Museum of Fine Arts (MFA) based
on the French Beaux-Arts style. The MFA opened to the public on July 4<sup>th</sup>,
1876, 3 years after its foundation. Initially, the museum was a Gothic edifice
on Copley Square (named after the city’s most famous painter, John Singleton
Copley), but due to the growth of the collection, the MFA museum relocated to
Huntingdon Avenue from 1907 onwards. The grand design for the new MFA was drawn
up by the Boston architect Guy Lowell (1870-1927) who was trained in the
European Beaux Arts tradition, which is reflected in his imposing neo-classical
facade. Guided by Lowell’s vision, the museum was built up into an institution
with an international reputation, which now houses over 450,000 works of art
from many civilizations and times. <span style="mso-spacerun: yes;"> </span>The
range of the museum is vast because it incorporates arts of Oceania, Asia,
Africa, Egypt, Rome and Greece as well as a formidable collection of paintings
including Washington Allston’s <a href="http://smarthistory.khanacademy.org/allston-elijah-in-the-desert.html" target="_blank"><u>Elijah in the Desert</u></a> (first oil to enter
collection) and J.M.W. Turner’s disturbing <a href="http://www.mfa.org/collections/object/slave-ship-slavers-throwing-overboard-the-dead-and-dying-typhoon-coming-on-31102" target="_blank"><u>The Slave Ship</u></a>. The first
curatorial department (the Print Department) dates from 1887; this was closely
followed by divisions of Classical art the same year), Japanese art in 1890,
Egyptian in 1902, and in 1910, Western art. Since the millennium the museum has
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<b style="mso-bidi-font-weight: normal;"><u>A Kaleidoscope of
Collectors.</u></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlHMU95T7mGGRoL8Y8GAAmaLPAtrSq3nA-Rwu848bdY0VWrSRfjm2WjSW_ZgSrPym7L-d-vy2LlMcK14ep5OVUAqg-A8vz7AvwErd3hWEYLOsVQv714sgsf_IJpDhJT8hwR0yKDnWRHffg/s1600/718.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlHMU95T7mGGRoL8Y8GAAmaLPAtrSq3nA-Rwu848bdY0VWrSRfjm2WjSW_ZgSrPym7L-d-vy2LlMcK14ep5OVUAqg-A8vz7AvwErd3hWEYLOsVQv714sgsf_IJpDhJT8hwR0yKDnWRHffg/s640/718.jpg" width="520" /></a></td></tr>
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Unlike the Fogg, Boston MFA’s collection of European paintings
is the result of a more complex evolution. There are a few outstanding collectors
associated with types of art in the museums, particularly world art from
Egyptian to Japanese which will not concern us here. Where European painting is
concerned, in the words of the museum itself, “the European paintings
collection is much more a blend of tastes and points of view.” <a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
Unlike Harvard where it is easier to track the patterns of provenance in the
museum, the situation with the MFA’s painting division resembles a kaleidoscope
of many tastes and visions. It is therefore more difficult to conduct a survey
of patronage focused on individual contributions and gifts. Despite this
complexity, some patterns can be discerned. There are paintings that came from
several generations of famous Bostonians such as the Puritan 17<sup>th</sup>
century portraits of the Gibbs children showing their debt to the Elizabethan
portrait; or Copley’s portrait of Paul Revere which came from that family to
the museum. Then there are individual donors from the “Boston Brahmin
structure” such as <a href="http://research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=7877" target="_blank">Quincy Adams Shaw</a> (the brother-in-law of Higginson) who gave
65 works by the 19<sup>th</sup> century realist painter Millet to the museum. Higginson
was connected with some of the most influential families in Boston, nearly most
of which produced trustees of the museum during his lifetime. Higginson himself
would eventually become a trustee of the MFA in the 1890s, and he would move
within the circle of people like Charles Eliot Norton, the dour Unitarian art
history professor at Harvard who observed that though capable, Higginson seldom attended meetings of the trustees.
Within this circle was also found <a href="http://www.dictionaryofarthistorians.org/brimmerm.htm" target="_blank">Martin Brimmer</a>, first Director of the MFA who was
scholarly and skilled at museum diplomacy. Amongst his donations include a
<a href="http://www.mfa.org/collections/object/still-life-with-teapot-grapes-chestnuts-and-a-pear-30923" target="_blank">Still Life</a> by Chardin.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-TXVYz2t4LjGrIngtNt_Tu9VOBGheUUdwbGjo728kzmfMlTx27aPVOeTg41PtnneLLJ6I86dHDDQrGIQfIfNwijyPFpFWsjye72Yhljav-Ql0AhPcdUpK_plp_08YgmJIUdWC3OKLBUB/s1600/sc126825.fpx&obj=iip,1.0&wid=960&cvt=jpeg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-TXVYz2t4LjGrIngtNt_Tu9VOBGheUUdwbGjo728kzmfMlTx27aPVOeTg41PtnneLLJ6I86dHDDQrGIQfIfNwijyPFpFWsjye72Yhljav-Ql0AhPcdUpK_plp_08YgmJIUdWC3OKLBUB/s640/sc126825.fpx&obj=iip,1.0&wid=960&cvt=jpeg.jpg" width="640" /></a></td></tr>
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Other donors outside the Boston Brahmins include members
of the middle-class professions such as bankers and lawyers, e.g. <a href="http://en.wikipedia.org/wiki/Robert_Treat_Paine_%28philanthropist%29" target="_blank">Robert Treat Paine</a>, a Boston lawyer and philanthropist who gave works by Degas and Cézanne
to the MFA. In this group would also fit William and John Spaulding who had a
vast collection of Japanese and Impressionist art which they left to the
museum. Curiously, there are a few non-Bostonian benefactors like Forsyth
Wickes, a New York attorney who never visited Boston, but left his collection
of 800 18th century French works to the MFA in 1965, thus impelling the museum
to create a new wing. Other 18<sup>th</sup> century donors include Marie
Antoinette Evans, once believed to be the 12<sup>th</sup> wealthiest woman in
America; she left a fine Watteau parkland scene. </div>
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<b style="mso-bidi-font-weight: normal;"><u>American Art at
the MFA. </u></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjY2BbRunW9nyAU72rn87p7zeclvHOs2AtmJRkLDCx6U5hyphenhyphenM3m_ru450mUeLw5hjbqwsbESZWg78Fxg86ge3gFG4eMfCgIHAM44K7lK8QFgujG0EwZlNalKiNlx-gLFNRMavpEFPcH-H_/s1600/Winslow_Homer_006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIjY2BbRunW9nyAU72rn87p7zeclvHOs2AtmJRkLDCx6U5hyphenhyphenM3m_ru450mUeLw5hjbqwsbESZWg78Fxg86ge3gFG4eMfCgIHAM44K7lK8QFgujG0EwZlNalKiNlx-gLFNRMavpEFPcH-H_/s640/Winslow_Homer_006.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Winslow Homer, The Fog Warning, 1885, oil on canvas, 76.83 x 123.19 c. (anon gift to MFA in 1894) </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhUJxFF62op5y86A4TAd7NPlFDqGEJXaXY4UIYUQCLTKuYNvpS14BFk9rfpKTVvpPYCLh8TTTup0W9f7icKXHH1OnBiyQch8cvNG2ekZgFvNK8p8RCdpnaHinoO9W3eVBioDIClzCfWLhP/s1600/Starting_out_after_rail_thomas_eakins.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhUJxFF62op5y86A4TAd7NPlFDqGEJXaXY4UIYUQCLTKuYNvpS14BFk9rfpKTVvpPYCLh8TTTup0W9f7icKXHH1OnBiyQch8cvNG2ekZgFvNK8p8RCdpnaHinoO9W3eVBioDIClzCfWLhP/s640/Starting_out_after_rail_thomas_eakins.jpeg" width="500" /></a></td></tr>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>Thomas Eakins, Starting Out After Rail, 1874,
oil on canvas mounted on Masonite, 61.6 x 50.5 cm. (The Hayden Collection). </div>
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One of the most prominent collectors is the couple <a href="http://en.wikipedia.org/wiki/Maxim_Karolik" target="_blank">Maxim </a>and
<a href="http://research.frick.org/directoryweb/browserecord.php?-action=browse&-recid=6590" target="_blank">Martha </a>Karolik who donated a vast amount of American art in 1945 and 1962.
Maxim (1893-1963) was trained as an opera singer in St Petersburg and became a
benefactor of the museum. His and his wife’s collection included 18<sup>th</sup>
century furniture, folk art and huge amounts of American paintings. Maxim’s
philosophy was quite simple: “Tell me wether the painting is good and I will
not care who the painter is.” This could hardly be more different from the
reclusive connoisseur type like Grenville Winthrop.<span style="mso-spacerun: yes;"> </span>The three most important pre- 20<sup>th</sup>
century American painters represented in the American School in the MFA are <a href="http://www.mfa.org/search/collections?keyword=John+Singleton+Copley" target="_blank">Copley</a>, <a href="http://www.mfa.org/search/collections?artist=John%20Singer%20Sargent" target="_blank">John Singer Sargent</a> and <a href="http://www.mfa.org/collections/object/the-fog-warning-31042" target="_blank">Winslow Homer.</a> Copley’s skilful eye for detail is evident
in his <u>Portrait of Paul Revere</u> called by Robert Hughes “a manifesto of
democratic American pride in work” and “the radical as craftsman.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
Sergeant’s <a href="http://www.mfa.org/collections/object/the-daughters-of-edward-darley-boit-31782" target="_blank"><u>The Daughters of Edward Darley Boit</u></a> which pairs realism and
Asian ornamentation inspired Henry James to declare “was the pinafore ever
painted with that power and made poetic.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a>
Homer’s <u>The Fog Warning </u>manipulates strange viewpoints and a threatening
backdrop to convey man’s struggle against the elements. It can be compared with
Thomas Eakin’s <u>Starting out after Rail</u> whose calmness belies the
artistic struggles Eakins had in mastering perspective. <span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><u>Slides</u></b></div>
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<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>View of the Boston MFA (Museum of Fine Arts), photograph
2006.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Former Museum Building, Copley Square, Boston,
19<sup>th</sup> Century.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Unidentified Artist, (called the Freake-Gibbs
painter), Margaret Gibbs, 1670, oil on canvas, 102.9 x 84.1 cm. (Bequest of
Elise Q. Giltinan)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John Singleton Copley, Paul Revere, 1768-70, ,
Museum of Fine Arts, Boston, oil on canvas, 87,5 x 71,5 cm. (Gift of the Revere
family)<br />
<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Rogier van der Weyden, St Luke painting the
Virgin, about 1453, oil on panel, 137.5 x 110.8 cm. (Gift of Henry Lee
Higginson)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jean François Millet, The Sower, 1850, oil on
canvas, 101.6 x 82.6 cm. (Gift of Q.A. Shaw)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Diego Rodriquez da Silva y Velasquez, Don
Baltasar Carlos and a Dwarf, 1632, oil on canvas, 128.1 x 102 cm. (Henry Lillie
Pierce Fund)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jean Antoine Watteau, View through the Trees in
the Park of Pierre Crozat, about 1715, oil on canvas, 46.7 x 55.3 cm. (Marie
Antoinette Evans Fund). <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Jean Siméon Chardin, Still Life with Tea Pot,
Grapes, Chestnuts, , and a Pear, 1764, oil on canvas, 32 x 40 cms. (Gift of
Martin Brimmer) <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>J.M.W. Turner, The Slave Ship (Slavers Throwing
Overboard the Dead and Dying, Typhoon Coming On), , 1840, Museum of Fine Arts,
Boston, 90.8 × 122.6 cm. (Henry Lillie Pierce Fund)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Edouard Manet, Street Singer, about 1862, oil on
canvas, Museum of Fine Arts, Boston 171.3 x 105.8 cm. (Bequest of Sarah Choate
Sears)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Claude Monet, Branch of the Seine near Giverny,
1897, Museum of Fine Arts, Boston, oil on canvas, 81.3 x 92.7 cm, (Gift of Mrs.
Walter Scott Fitz, 1911).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Pierre Auguste Renoir, Dance at Bougival, 1883, Museum
of Fine Arts, oil on canvas, Museum of Fine Arts, Boston, 181.8 x 98.1 cm. (Julia
Cheney Edwards Collection). <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Paul Gauguin, Where Do We Come From? What Are
We? Where Are We Going? 1897, oil on canvas, 139.1 x 374.6 cm (Tompkins
Collection). <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gilbert Stuart, George Washington, 1796, oil on
canvas, 121.3 x 94 cm. Various funds; jointly owned by the MFA and National
Portrait Gallery, Washington). <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Thomas Eakins, Starting Out After Rail, 1874,
oil on canvas mounted on Masonite, 61.6 x 50.5 cm. (The Hayden Collection).
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Paul DiMaggio, “Cultural Entrepreneurship in nineteenth-century Boston: the
creation of an organizational base for high culture in America”, <i style="mso-bidi-font-style: normal;">Media, Culture, Soci</i>ety, 1982 4,
33-50.<span style="mso-spacerun: yes;"> </span><a href="http://xroads.virginia.edu/~DRBR2/dimaggio.pdf">http://xroads.virginia.edu/~DRBR2/dimaggio.pdf</a></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Ibid.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> <u>Guide
to the Collection of the Museum of Fine Arts, Boston</u>, 2005, 13.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
Robert Hughes, <u>American Visions: The Epic History of Art in America</u>,
(Harvill Press, London, 1997), 86.</div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a> <u>Cited
in Guide to the Collection</u>, 331. </div>
</div>
</div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7794919694945333232.post-27209793260426465822013-09-25T14:17:00.003-07:002013-09-28T01:04:00.619-07:00Boston; Fogg Art Museum, Harvard University.<!--[if gte mso 9]><xml>
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The origins of art history at Harvard lie in the 1870s when
a chair in that subject was created at the university. The Fogg is named after a Maine merchant <a href="http://news.harvard.edu/gazette/2002/04.04/16-fogg.html" target="_blank">William Hayes Fogg</a> (1817-1884) who prospered in the China trade. When he died in 1884, his widow Elizabeth left $200, 000 and Fogg's art collection. The first collections of
the Fogg Art Museum opened in 1895-6 to support the Division of Fine Art’s
teaching.<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a><span style="mso-spacerun: yes;"> </span>Initially, the Fogg sought to develop the
area of late medieval panel painting which was advanced by Edward W. Forbes
(1873-1965), part of a well-connected New England family. Forbes became
Director in 1909, and Paul J. Sachs (1878-1965) of the New York banking family,
Goldman-Sachs became his assistant in 1915. With Sach’s appointment, the
ambitions of the museum grew, which as Brush points out was not equalled by
Harvard’s meagre resources at the time. It wasn’t a cultural museum like the
Boston Museum of Fine Arts, and so it had to be built up differently. In
addition to this, Forbes and Sachs had to campaign ceaselessly to get art
recognised as a legitimate area of intellectual endeavour at Harvard, vying
with the Chemistry Department and Business School for funds. The Fogg had to be
opportunistic, on the lookout for purchasing opportunities, gifts and bequests.
Due to the wide range of acquisition chances, this resulted in the collection
having a “wider scope” which would be broadened even further with the Winthrop
bequest in 1943.Overall, the Fogg had to walk a fine line between acknowledging
the modern world whilist retaining its “Old World” atmosphere. Something of
that tension can be seen in the building itself which was the result of a
collaboration between a Boston firm and the curators. The building was designed
to fit Harvard’s “artificial construct” of a New England campus “modified in a
revamped Georgian style.”<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Inside, the courtyard was in the style of a renaissance cortile - (a courtyard
with arcades) which contrasts with the Georgian exterior. In 2008, the 32
Quincy Street building that formerly housed the Fogg Museum and the
Busch-Reisinger Museum closed for a major <a href="http://www.harvardartmuseums.org/renovation" target="_blank">renovation</a> project to create a new
museum building designed by architect Renzo Piano that will house all three
museums in one facility. During the renovation, selected works from all three
museums are on display at the Arthur M. Sackler Museum. The Fogg is scheduled
to reopen in 2014.</div>
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<u>The Aesthetic Vision of a Collector: Grenville Winthrop</u></div>
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Grenville Winthrop (1864-1943), whose collection forms most
of Harvard's art holdings, was a scion of a Puritan dynasty stretching back
into the seventeenth-century. Though from that austere stock, Winthrop shared
none of its aversion towards the visual arts. He is up there with the most
voracious of the world's collectors though shamefully his art-acquiring
activities have been neglected by art historians.<span class="MsoFootnoteReference"><u> <a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><u><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></u></span></span></a></u></span>
Where did his taste for art originate? It was undoubtedly fostered at Harvard
where Winthrop attended lectures by the university's first art history
professor, Charles Eliot Norton. But the legendary connoisseur, Bernard
Berenson, one year below Winthrop's graduating class, may have been equally
influential in sparking the nascent collector's enthusiasm for acquiring art.
Berenson was responsible for putting renaissance works Winthrop’s way, though
truthfully, these aren't in the first rank of renaissance art (e.g., Giovanni
di Paolo’s <a href="http://www.harvardartmuseums.org/art/230462" target="_blank"><u>Nativity</u></a>). Berenson kept the best renaissance painting for
himself and famous patrons like Isabella Stuart Gardener to whom he was
introduced whilist a student at Harvard.<br />
<br />
Winthrop's tastes outstripped the renaissance as a result of reading the 19<sup>th</sup> century aesthete
Walter Pater whose writings helped him to develop an aesthetic vision for his collection
that would grow into over four thousand objects ranging from renaissance panels
to statuettes of Tibetan deer. This aesthetic inclination helps to explain why
there is such a bias towards English and French nineteenth-century art in his
collection. The art of such painters as Blake, Burne-Jones, Moreau, Whistler
and Watts suggested parallels between music and visual art, a central tenet of
Pater's thought. The aesthetic side of collecting undoubtedly led Winthrop in
the direction of Asian art, which is why Harvard has such a large collection of
Jade and ceramics, which is obviously beyond the compass of this brief survey.
Such exotic objects would accompany Western art in Winthrop's house in New
York; and his Pre-Raphaelite and Ingres rooms would be ornamented by the
inclusion of objet d’art as part of a personal and idiosyncratic vision. If
Berenson was his first advisor, the second was his Harvard classmate, Francis
Bullard. This individual helped Winthrop develop an interest in J. M. W. Turner.
As a result of his association with Bullard, Harvard now has over four hundred
prints by or after Turner. Though Winthrop was a member of a legal firm, he had
no need to work since as a member of the New York branch of the Winthrop line, he
inherited a vast amount of money which other captains of industry had to amass
through hard work and empire building. Though wealthy men of Harvard usually
embarked on the Grand Tour, Winthrop was not inclined to follow custom, and
with Bullard's death in 1913, he resolved never to cross the Atlantic again. Henceforth,
he disdained travel and would rely upon his art contacts to secure art for him
"at arm's length." This was most successfully achieved with a third
association between the collector and Martin Birnbaum, an art dealer and
proficient amateur violinist. Birnbaum's tastes and experience were much extensive
than Winthrop and with his help, works by artists such as Manet, Whistler,
Sargeant, Winslow Homer, Ingres, Degas and Rodin would be secured. As a result
of this collaboration there were many coups. Perhaps the most memorable was the
trumping of the London National Gallery for an Ingres portrait of <a href="http://www.harvardartmuseums.org/art/230110" target="_blank"><u>Mme Rieset</u>,</a>
which Kenneth Clark- the director of the NG- would eventually pursue and
discover on the walls of Winthrop's New York house! In addition to opening his
collection to experts like Clark, Winthrop was a staunch supporter of education
and made his collection available to many students. This may be why his
collection eventually went to his alma mater, Harvard, though at one point it
looked like it might have remained in New York, or even been gifted to
Washington. However, Winthrop believed that his art should inspire a younger
generation rather than going to a Washington for the "general
public." Aristocratic snobbery played no part in this bequest. Winthrop
was afraid that his collection might lose its distinctive character in a large
museum, which it certainly would have in a museum like the Washington NG or the
Metropolitan in New York. Today, both the public and the specialists can
benefit from a truly impressive collection, a living monument to the
persistence and vision of a unique collector.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr3BdvwNsz21vQHgo1-M7P_YC1GK8wOOpuuBEPeyugWm-uIiu9E6vAxualZI8JJF70hL-jX3zkUk-L214bdyCOSTHal0cq_JuyuPqt5GrfvPNp5g79041n7PxPtYvOC1yg67dD9NEnCaG5/s1600/urn-3+HUAM+51267_dynmc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr3BdvwNsz21vQHgo1-M7P_YC1GK8wOOpuuBEPeyugWm-uIiu9E6vAxualZI8JJF70hL-jX3zkUk-L214bdyCOSTHal0cq_JuyuPqt5GrfvPNp5g79041n7PxPtYvOC1yg67dD9NEnCaG5/s640/urn-3+HUAM+51267_dynmc.jpg" width="640" /></a></td></tr>
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<u>Brief Analysis of Winthrop’s Paintings. </u></div>
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It is very difficult to give even an impression of the
collection of Grenville Winthrop. I have ignored all of his world art, and most
of the drawings in order to concentrate on paintings. The strengths of the
collection lie in the nineteenth-century, especially England and France which
is extremely well represented. The French neo-classical school (David,
Gericault and Ingres) have a strong presence, and there are fine drawings and
paintings by romantic and realistic artists like Delacroix and Daumier. Impressionism
is represented by Manet, Monet, Sisley, Pissarro and some works by Van Gogh,
which are augmented by a memorable self-portrait by Van Gogh, not in Winthrop’s
collection. There are also two fine portraits by Renoir including one of
another collector, Victor Chocquet, which was hung above Winthrop's own
portrait by Sterner. Winthrop’s Impressionist and Post-Impressionist holdings
when combined with the <a href="http://en.wikipedia.org/wiki/Maurice_Wertheim" target="_blank">Maurice Wertheim</a><a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a>
(an investment banker) collection, boost that area of painting significantly at
the museum. Winthrop owned a remarkable number of works (over 12) by Gustave
Moreau making this the most important collection for his works outside Paris.
The English School is splendidly served. It starts in the 18th century with
drawings by Flaxman, a series of watercolours by Blake and runs through the
Pre-Raphaelites to proto symbolist painters like Watts. Any serious student of
Burne-Jones could not neglect this collection as it has many paintings and
drawings by him. There is a handful of Rossetti’s here including the
"Blessed Damozel", and a couple of Holman-Hunts figure in this
collection. There is an impressive collection of late nineteenth-century
Symbolist art in the shape of (Albert) Moore, Beardsley, Redon, Watts. European
modern art is not particularly in evidence in Winthrop’s collection unless Eric
Gill and Rodin are counted.<span style="mso-spacerun: yes;"> </span>As for the
Americans, there are works by Whistler, John Singer-Sargeant and John La Farge,
the latter influenced by Burne-Jones. Perhaps the American artist most able to
hold his own in terms of numbers is the naturalist painter Winslow Homer whose
watercolours of sailing, fishing and other outdoor activities conjure up rural
America. In a more traditional vein, there are idiosyncratic still-lives by the
Americans Charles Bird King and William Michael Harnett. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN_3ZeqPGv11m8mx4qLkgX1ZCnIAsKQoixYF13fKRjQ1EMtbwoXPReCKG-yEswYhO0q_PFnFpxmBzgSMjD89d47cdVRFNAt56ktO_0DtB3lzBTwqpd_MxOrPJxHo_1vW-F5wLVG2zepBPs/s1600/poussin_camb(US)_rv1995pl831.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN_3ZeqPGv11m8mx4qLkgX1ZCnIAsKQoixYF13fKRjQ1EMtbwoXPReCKG-yEswYhO0q_PFnFpxmBzgSMjD89d47cdVRFNAt56ktO_0DtB3lzBTwqpd_MxOrPJxHo_1vW-F5wLVG2zepBPs/s640/poussin_camb(US)_rv1995pl831.jpg" width="640" /></a></td></tr>
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Apart from the twentieth-century,
the weakest links in Winthrop’s collection are seventeenth-century and high renaissance
art.<span style="mso-spacerun: yes;"> </span>Baroque art wasn't much in vogue in
the early 20<sup>th</sup> century, and perhaps it wouldn't have been to
Winthrop's taste anyway. Most of the art of this century is non-Winthrop in
provenance. Poussin is the best representative of the 17<sup>th</sup> century:
three paintings including <u>Bacchus and the Nymphs</u>, once owned by Samuel
Sachs and presented by his wife to the museum in 1942. Winthrop soon gave up
collecting renaissance art as he was hopelessly outflanked by Berenson and his
dealer friends who kept the best selections for themselves. Nevertheless
Harvard is famous for its collection of early renaissance art, and this is why
students were able to study artists like <a href="http://www.harvardartmuseums.org/art/search?search_api_aggregation_1=&field_artist_search=Lorenzetti&field_title_search=&field_artist_search_1=&field_title_search_1=&field_object_number=&field_date_begin=&field_date_end=&field_department=&field_classification=&field_technique=&field_century=&field_period=&field_culture=&field_creation_place=&field_subject=" target="_blank">Lorenzetti </a>in the early
twentieth-century. Where the high renaissance was concerned, it was down to the
Friends of the Fogg Art Museum, and other organizations, to secure art from
leading renaissance artists. Two of my recommendations would be Botticelli's late,
apocalyptic <u>Mystical Crucifixion</u> (heavily damaged though) and in a gentler
mood, Piero di Cosimo's <u>The Misfortunes of Silenus</u>, whose companion; <a href="http://www.worcesterart.org/Collection/European/1937.76.html" target="_blank"><u>TheDiscovery of Honey</u></a> is in nearby Worcester’s art museum.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<u>Slides</u>. </div>
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<br /></div>
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Exterior of Harvard University, Cambridge,
Massachusetts, photograph 2006. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Exterior of the Fogg Art Museum showing Georgian
design, photograph, 2006.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Interior of Fogg Art Museum (cortile),
photograph, 2006. <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Albert Edward Sterner, drawing of Grenville
Winthrop, black, red, and white chalk, brown wash, and charcoal on off-white
laid paper, 48.2 x 35.7 cm.<span style="mso-spacerun: yes;"> </span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">5)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>The Osservanza Master, Christ in Limbo, 1440s, Tempera
and gold on wood, 38 x 47 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">6)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Giovanni do Paolo, Nativity, 1455, tempera on
panel, 26 x 23.5 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">7)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Sandro Botticelli, Mystic Crucifixion, c. 1500, Tempera
on canvas, 73, 5 x 50, 8 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">8)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Piero di Cosimo, The Misfortunes of Silenus, 1505-1510,
Oil on panel, 80.1 x 129.3 cm<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">9)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Nicolas Regnier, Self-Portrait with portrait of
a Patron on an Easel, 1620-5, oil on canvas, 1623-24, Oil on canvas, 111 x 138
cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">10)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Nicolas Poussin, Mercury consigns Bacchus to the
Nymphs of Nyssa, 1657, oil on canvas.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Photograph of Poussin room on ground floor
(2006).<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">12)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Ruisdael, Waterfall in a Mountainous Northern
Landscape, 1665, Oil on canvas.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">13)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Canaletto, Piazza San Marco, Venice, c. 1730-5,
oil on canvas, 76. 2 x 118. 8 cms.<br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">14)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Jacques
Louis David, Emmanuel Joseph Sieyés, 1817, oil on canvas, 97.8 x 74 cm. (21)</span><br />
<br />
<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">15)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span lang="FR" style="mso-ansi-language: FR;">Jean
Auguste Dominique Ingres, Madame Frédéric Reiset, née Augustine- Modeste
Hortense Reiset, 1846, oil on canvas, 59. 2 x 47 cm.<span style="mso-spacerun: yes;"> </span>(74)</span><br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">16)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Eugène Delacroix, A Turk Surrenders to a Greek
Horseman, 1856, oil on canvas, 80 x 64.1 cm. (31)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">17)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Honoré- Victorin Daumier, The Print Amateur, c.
1855, oil on wood panel, 33 x 24 cm. (13)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">18)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Pierre Auguste Renoir, Portrait of Victor
Chocquet, c. 1875, oil on canvas, 53.2 x 43.5 cm. (112)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">19)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Vincent Van Gogh, Self-Portrait, September 1888,
Arles, Oil on canvas, 62 x 52 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">20)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Gustave Moreau, The Apparition, 1877, oil on
canvas, 54.2 x 44.5 cm. (95)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">21)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>William Blake, The Body of Abel found by Adam
and Eve; Cain, who was about to bury it, fleeing from the Face of his Parents,
c. 1809-21, watercolour, black ink and graphite on cream wove paper30.3 x 32.6
cm). (145)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Edward Burne-Jones, Pan and Psyche, 1872-74, oil
on canvas, 68. 8 x 53 cm. (159)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">23)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>George Frederick Watts, Ariadne, 1888-90, oil on
canvas, 126.8 x 103 cm. (196)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">24)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John Singleton Copley, Nicholas Boylston, oil on
canvas, 238.8 x 144.8 cm (94 x 57 in.) framed: 281.9 x 179.1 x 16.5 cm.<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">25)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Charles Bird King, The Vanity of the Artist’s
Dream (The Anatomy of Art Appreciation, Poor Artist’s Study, 1830, oil on
canvas, 91. 3 x 76.1 cm. (205)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">26)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>William Michael Harnett, Still Life with
Bric-a-Brac, 1878, oil on canvas. 81.28 x 108.59 cm. (198)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">27)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Winslow Homer, Adirondack Lake, 1892,
watercolour on white wove paper, 30.1 x 53.5 cm.(203)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">28)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John La Farge, The Dawn, 1899, oil on canvas,
79.06 x 86.09 cm. (206) <br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">29)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>John Singer Sargeant, Man Reading (Peter
Harrison or Nicola D’Inverno?), c. 1904-11, watercolour over graphite on white
wove paper, 34. 9 53.5 cms. (208)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">30)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>August Rodin, Vase Clodion (Lovers), c. 1880,
black ink and gouache, with traces of graphite on tan wove paper, 18.9 x 14.5
cms. (114)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">31)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Eric Gill, Daphnis and Chlöe, Illustration for
"Procreant Hymn", 1926, Black ink, watercolour, and gold paint on
tracing paper, 12.8 x 10.2 cm (5 1/16 x 4 in.)<br />
<br />
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">32)<span style="font: 7.0pt "Times New Roman";">
</span></span></span>Photograph of renovation of museum, courtyard,
completion date 2014..
<br />
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<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a>
Kathryn Brush, “Marburg, Harvard, and Purpose Built Architecture for Art
History, 1927” in <u>Art History and its Institutions: Foundations of a
Discipline</u> (ed), Elizabeth Mansfield<span style="mso-spacerun: yes;">
</span>(Routledge, 2002), 65-84.</div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a>
Ibid, 70.</div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a>
But see Stephan Wolohojian, “A Private Passion” in the catalogue, <u>A Private
Passion: 19<sup>th</sup> Century Paintings and Drawings from the Grenville L.
Winthrop Collection</u>, Harvard University, 2003. Nos below refer to
catalogue.</div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=7794919694945333232#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> John
O'Brian, preface by Barbara Wertheim Tuchman and Anne Wertheim Werner, <u>Degas
to Matisse: The Maurice Wertheim Collection</u>, Harvard University Press,
2006.</div>
</div>
</div>
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